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

Roger Reeves

Title	Catalog	Instructor	Schedule
Introduction to Clay	1000 (001)	Nancy Fleischman	Sat 10:00 AM - 4:00 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 1176	Credits 3	Department Ceramics Location 280 Building Rm M152
Introduction to Architecture	1001 (001)	Nathan Rennich	Mon/Wed 6:45 PM - 9:15 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 1016	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1255
FYS I:Consider This	1001 (001)	Joanna Anos	Tues 12:15 PM - 3:00 PM In Person
Description Consider the ordinary and extraordinary, the word and world, this color, this art, this way of seeing and being. Writing topics are various in this writing course, but learning objectives are the same: for students to discover the complexity of their thinking through exploration and inquiry and to broaden their expressive and analytical skills. Readings will include writings by essayists, naturalists, and artists. Students maintain a writer¿s notebook, prepare short compositions, and write and revise several essays.	Class Number 1323	Credits 3	Department Liberal Arts Location Lakeview - 1428
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 1516	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 106
Ceramics: Wheel Throwing Fundamentals	1001 (001)	Cassandra Scanlon	Mon/Wed 6:45 PM - 9:15 PM In Person
Description This course will focus on developing beginning and continuing skills on the wheel. Students will be introduced to fundamental methods for using the wheel as a tool to create vessels with consideration of their meaning and consequence and stretch the boundaries of utility. In addition to the design and structure of functional objects, this course will familiarize students with the working properties of ceramic material, firing methods, and glazes. We will look at artists working both in traditional and non-traditional methods. Artists will vary, but some we will look at include: Edmund de Waal, Alleghany Meadows, Gerrit Grimm, Mike Helke, Steve Lee, and more. Readings will include articles covering topics about the convergence of fine art and craft, how objects affect our daily life and rituals, the place of craft within contemporary society. Specific authors may be : Chris Staley, Glenn Adamson, Jenni Sorkin, Okakura Kakuzo and Edmund de Waal Projects vary, but typically there are 5-6 assignments in the course with each assignment consisting of 3-20 pieces of finished work with additional research in glaze and firing processes. Students will also have readings and responsibilities with firing work.	Class Number 1178	Credits 3	Department Ceramics Location 280 Building Rm M153
Introduction to Art: Ways of Seeing	1001 (001)	Mikolaj Czerwiński	Thurs 12:15 PM - 3:00 PM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1027	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Reading Art	1001 (001)	Alexander W Jochaniewicz	Fri 3:30 PM - 6:15 PM In Person
Description Reading Art is a seminar that orients students to college studies and emphasizes students' advancement of college-level critical reading and thinking skills. Students learn how to read and analyze artworks using the formal vocabulary of art and design, as well as how to read about art in art history textbooks, scholarly journals, and other sources. Students improve their ability to process, retain, and apply information by using active learning strategies and graphic organizers, including a schematic note-taking system. In addition to weekly readings and exercises, students complete an in-depth synthesis project on an artwork of their choosing. Regular museum visits complement class work.	Class Number 1010	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS I: The Places You'll Go	1001 (002)	Peter Thomas	Tues 8:30 AM - 11:15 AM In Person
Description This writing course emphasizes close reading of texts, critical thinking, and the analysis of problems and concepts arising in works about travel experiences through the writing of essays. We will use the writing process as a means to achieving insight, and students will be asked to employ brainstorming, freewriting, drafting, outlining, re-writing, revising, and editing. Throughout the term, students will be asked to reflect on their development as they establish their own writing process that will enable them to develop new understandings and clearly communicate them in essays for this course and beyond. Writer Pico Iyer says, ¿We travel, initially, to lose ourselves; and we travel, next, to find ourselves.¿ New places are alluring. New places are disruptive. In this course, we¿ll read accounts of those who ventured to distant lands and discovered new territories within themselves. We will read the likes of Langston Hughes, Bernard Cooper, Jamaica Kincaid, Flannery O¿Connor, George Orwell, Susan Sontag, and others, as we see what these writers found when they lost themselves abroad. Students will join the well-traveled, too, as they write about a not-usual place, even if it¿s right here in Chicago. In addition to short writing assignments and in-class journals, students should expect to write and revise 4 essays totaling 15-20 pages of formal prose.	Class Number 1308	Credits 3	Department Liberal Arts Location Lakeview - 202
Introduction to Visual Communication	1001 (002)	John Bowers	Wed 9:00 AM - 3:00 PM In Person
Description This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture. Prerequisites Corequisite: VISCOM 1002.	Class Number 1773	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
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 1023	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1255
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 1517	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 106
Introduction to Art: Ways of Seeing	1001 (002)	Artie Foster	Mon 8:30 AM - 11:15 AM In Person
Description This course is an introduction to art and design. Specific content varies by instructor and covers diverse ways of seeing and understanding the visual world. The course articulates connections between selected art of the past and contemporary practices. Students will gain first-hand knowledge from visits to and exercises in the Art Institute of Chicago and other collections. Ultimately, the course teaches skills that enable students to understand their own practices better, orient themselves in relation to theories of art and design, and navigate our present moment where visual literacy is increasingly crucial. This course introduces students to key aspects of the history and theory of art and design. Students will become familiar with selected art of the past and how it has been connected to contemporary practices.	Class Number 1028	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYS I: Copyrights and Wrongs	1001 (003)	Jennie Berner	Thurs 12:15 PM - 3:00 PM In Person
Description In this writing-intensive course, we will explore the line between originality and plagiarism in a variety of fields including art, media, technology, music, business, entertainment, and medicine. In what contexts is copying an art? A science? A crime? How much should we be allowed to borrow from the work of artists and writers who have come before us? Do we owe them anything when we do? What are the economic, social, and political implications of copying? Readings will cover a range of subtopics such as genetic cloning, music sampling, artistic forgery, cultural appropriation, film adaptations, drug patents, fan fiction, body modification, and fair use. We will also analyze the work of artists and writers whose work speaks to some of these issues, including Kenneth Goldsmith, Fred Wilson, Jeff Koons, Sherrie Levine, DJ Dangermouse, and Jen Bervin. Writing assignments ? totaling 15-20 pages over the course of the semester ? will emphasize analysis, argument, research, revision, and other academic writing skills.	Class Number 1340	Credits 3	Department Liberal Arts Location Lakeview - 205
Introduction to Visual Communication	1001 (003)	John Bowers	Thurs 9:00 AM - 3:00 PM In Person
Description This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture. Prerequisites Corequisite: VISCOM 1002.	Class Number 1802	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
Introduction to Art: Ways of Seeing	1001 (003)	Joana Konova	Tues 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 1029	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYS I: Writing for Space-Making	1001 (004)	Mika Yamamoto	Fri 8:30 AM - 11:15 AM In Person
Description Writers can have the power to create space for communities that are marginalized in society, but this work is never easy. In this class, we will examine the works of writers who have attempted this and analyze the success and cost of such attempts. Our readings will include works by: Esme Weijun Wang, Rupi Kahur, Ryka Aoki, Patsy Mink, and others. We will also utilize SAIC¿s amazing resources like the Service Bureau, the Art Institute, the writing center, the diversity department, and Title IX office. In this class, students will exercise their voices and embrace the writing process. They will think of writing beyond what happens on the page.Towards this end, each class begins with mindfulness and connection activities. Students will be required to write weekly reflections, multiple drafts of an essay, and do a class presentation. Students in FYS I should expect to write 15 to 20 pages of formal, revisable writing. Attendance is extremely important and heavily weighted.	Class Number 1324	Credits 3	Department Liberal Arts Location Lakeview - 1427
Introduction to Visual Communication	1001 (004)	Eliza Rosen	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. Prerequisites Corequisite: VISCOM 1002.	Class Number 1804	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
Introduction to Photographic Image Making	1001 (004)	Marzena Abrahamik	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 1519	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 106
Introduction to Photographic Image Making	1001 (005)	Kelli Connell	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 1528	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 106
FYSe: Laughing Matter	1002 (001)	Sophie Goalson	Mon 12:15 PM - 3:00 PM In Person
Description As an art form, humor is often considered menial and unrefined. In reality, the psychology of humor ¿ exactly what it is that makes something funny ¿ is complicated and requires careful mastery. This course will examine how writers and artists have historically used humor to reach audiences deeply, emotionally, and politically. Through works by Mark Twain, Franz Kafka, Calvin Trillin, Jade Chang, Percival Everett and others, we will get to the heart of what makes something funny, and how humor has changed over time. Students will build on foundational academics habits with weekly short writings. To complete the course, students must write 3 papers (one analytical, one argumentative, and one creative. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1338	Credits 3	Department Liberal Arts Location MacLean 919
Illustration Technologies Lab	1002 (001)	Kimberly Karen Viviano	Wed 6:45 PM - 8:00 PM All Online
Description Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1803	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Online
Issues in Modern and Contemporary Art	1002 (002)	David Raskin	Thurs 3:30 PM - 6:15 PM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1031	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYSe:Near-Death Experiences	1002 (002)	Peter Thomas	Mon 8:30 AM - 11:15 AM In Person
Description This writing course emphasizes close reading of texts, critical thinking, and the analysis of problems and concepts arising in works about near-death experiences through the writing of essays. We will use the writing process as a means to achieving insight, and students will be asked to employ brainstorming, freewriting, drafting, outlining, re-writing, revising, and editing. Throughout the term, students will be asked to reflect on their development as they establish their own writing process that will enable them to develop new understandings and clearly communicate them in essays for this course and beyond. Some of us have had a near-death experience in which our survival felt in doubt. Almost all of us have had nearness-to-death experiences in which we glimpse the passing of some other person or creature and must contend with death?s significance. In this course, we?ll study short works that explore what nearness to mortality reveals to us. We?ll read Virginia Woolf, Tim O?Brien, Annie Dillard, Lu Hsun, Tobias Woolf, Wole Soyinka, and Nancy Mairs, among others, as we examine how death?s presence has impacted these writers in unanticipated ways. Students should expect to write and revise 3 major essays in addition to short writing assignments, totaling 15-20 pages of formal prose. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1321	Credits 3	Department Liberal Arts Location Lakeview - 206
Issues in Modern and Contemporary Art	1002 (003)	Deanna Ledezma	Mon 12:15 PM - 3:00 PM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1035	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYSe: Visions of Apocalypse	1002 (003)	Jacob A Hinkson	Tues 3:30 PM - 6:15 PM In Person
Description Why are we fascinated with the end of the world? Throughout history, human beings have contemplated the apocalypse¿whether as a fulfillment of religious prophecy, as the result of atomic war, or as a consequence of climate change. This class will examine apocalyptic visions in art, film, literature, and music. In their research and writing, students can expect to explore the aspect of this subject that matters most to them and/or that inspires their curiosity. 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. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1339	Credits 3	Department Liberal Arts Location MacLean 818
Illustration Technologies Lab	1002 (003)	Richard Bresden	Thurs 3:30 PM - 4:45 PM In Person
Description Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1798	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1108
Issues in Modern and Contemporary Art	1002 (004)	Chris Reeves	Wed 8:30 AM - 11:15 AM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1040	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYSe: American Poetry	1002 (004)	Alexander W Jochaniewicz	Thurs 8:30 AM - 11:15 AM In Person
Description This course will chronologically survey American poetry from its earliest periods to recent times. Students will be introduced to a wide spectrum of the finest poetry ever to be written, including (among others) poems from Phyllis Wheatley, Emily Dickinson, Robert Frost, Jean Toomer, Countee Cullen, e.e. cummings, Langston Hughes, Gwendolyn Brooks, Amit Majmudar, Terrance Hayes, Sherman Alexie, Garrett Hongo, and Natalie Diaz. Individual interpretations will be emphasized and slow-and-close reading will be emphasized, both in class and in formal writing assignments. In addition, students will be introduced to methods of literary study, appropriate terminology, and (art) historical contexts to help orient scholarship¿including how poets across time and space operate and innovate within literary conventions. Students will also write about poetry in both personal responses and formal analyses and will practice the process of writing, including prewriting, drafting, peer reviewing, and revising. FYSe develops college-level writing skills, prepares one for FYS II and upper level Liberal Arts courses, and allows one to improve expressing their ideas in writing. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1353	Credits 3	Department Liberal Arts Location MacLean 919
Illustration Technologies Lab	1002 (004)	Richard Bresden	Thurs 5:00 PM - 6:15 PM In Person
Description Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1805	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1108
Issues in Modern and Contemporary Art	1002 (005)	Daniel Ricardo Quiles	Wed 12:15 PM - 3:00 PM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1037	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
GLOBAL: Survey Mod to Cont Art/Arch	1002 (006)	Rhoda Rosen	Fri 12:15 PM - 3:00 PM In Person
Description This course builds on the lessons of ARTHI 1001 by discussing specific issues in modern and contemporary art and design. It focuses on examining objects and concepts, addressing theoretical and critical issues. It also explores the historical, intellectual, and socioeconomic changes reflected in the works of artists and designers, highlighting their relevance to contemporary practices. Museum visits and group exercises supervised by the instructor and the teaching assistants will contribute to the important hands-on experience of works of art. Note: ARTHI 1001 is the recommended prerequisite for ARTHI 1002.	Class Number 1066	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
First Year Seminar Enhanced (EIS)	1003 (001)	Annette Elliot-Hogg	Tues 12:15 PM - 3:00 PM In Person
Description FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1344	Credits 3	Department Liberal Arts Location MacLean 919
First Year Seminar Enhanced (EIS)	1003 (002)	Diane Worobec-Serratos	Thurs 8:30 AM - 11:15 AM In Person
Description FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1345	Credits 3	Department Liberal Arts Location Lakeview - 206
First Year Seminar Enhanced (EIS)	1003 (003)	Maryjane Lao Villamor	Wed 12:15 PM - 3:00 PM In Person
Description FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1346	Credits 3	Department Liberal Arts Location Sharp 409
FYS II: Americana Music	1005 (001)	Andrew Lindsay	Tues 8:30 AM - 11:15 AM In Person
Description ¿Genre¿ and tradition in music are nebulous terms, yet we can¿t escape them. Examining these genre distinctions consistently reveals two things - the history and tradition that helped birth the genre ¿category,¿ and the web of influences between genres that make such distinctions unstable. Nowhere is this ¿instability¿ more apparent than in American music, a country whose relatively young socio-political history makes the notion of ¿tradition¿ especially complicated. ¿Americana¿ is an overarching term to describe a variety of American musics, in an attempt to smooth over some of the complicated relationship between genre and tradition. One thing we will explore in this course is the effectiveness of that endeavor. Complicated spaces, of course, are fertile ground for argument, and that is the primary skill we will practice in this course. We begin with short writing assignments that force students to make arguments about our texts. Our class discussion allows us to workshop these claims, and we write larger papers that demonstrate the ability to take greater risks with our theses. In this course we will focus on the core skills of reading and writing, preparing us for all our future coursework at SAIC. Students learn to make nuanced observations about the texts we study, observations which form the basis for the argumentative papers we write. This course will focus on artists representative of the various genres said to populate Americana music. Special attention, however, will be paid to those artists who trouble the genre definitions, such as the Staple Singers, Gillian Welch, and Sturgill Simpson. Assignments consist of informal, observational journals, short papers and a larger Final Paper at the end of the course. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1309	Credits 3	Department Liberal Arts Location Lakeview - 1427
Potting for Pleasure and Protest	1005 (001)		Thurs 3:30 PM - 9:15 PM In Person
Description This intro course will allow students to build upon and deconstruct our preconceived notions of what a 'pot' is. Can a pot be a subversive act of defiance? Can it express pleasure, grief or discomfort? We will explore what a pot can say and do beyond mere function. Investigating materiality, process, and conceptual frameworks the pot will serve as a form through which we?ll unpack issues ranging from the primordial to the celestial. Students will learn technical ceramic processes while examining the histories, practices, and conceptual potentialities of the vessel. We will look at artists who employ the vessel in their practice in a critical, subversive, personal and humorous ways. Some of the artists include Rubi Neri, Betty Woodman, Kathy Butterly, Theaster Gates, Sahar Khouri, Bari Ziperstein and more. Readings will include excerpts from ?Documents of Contemporary Art: CRAFT? and authors such as Glen Adamson, Edmund de Waal and Tanya Harrod. Students should expect to produce a body of work consisting of assigned and self directed projects to be presented in a culminating midterm and final critique.	Class Number 1179	Credits 3	Department Ceramics Area of Study Art/Design and Politics, Community & Social Engagement Location 280 Building Rm M153
FYS II:Romantic Fairy Tales	1005 (002)	Irina Ruvinsky	Tues 8:30 AM - 11:15 AM In Person
Description Please confirm/update desc: Unlike traditional folk fairy tales, intended primarily for children, the German Romantic Kunstmärchen (literary fairy tales) were written for an audience of adults. German Romantic philosophers, who believed in Nature as an ideal and the primacy of the individual creative imagination, saw the fairy tale as the perfect medium for the expression of these ideas. The timeless, mythical qualities of the fairy tale were seen by these thinkers as a way to bring the realm of the supernatural to earth, making the irrational and the magical part of our everyday existence. Unlike the traditional fairy tales, in which everyone lives happily ever after, the Märchen emphasizes the struggle between negative and positive forces in which death and disaster often prevail and man is caught in the tragic dichotomy between the real and the ideal. In this course we will explore these and other themes by reading the works by such authors as Novalis, L. Tieck, E.T.A Hoffman and Kafka. Students should expect to write 20-25 pages of formal, revisable writing, in addition to homework exercises and in-class writing. FYS II will build upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. Eventually, writing will be more self-directed in this FYS II class. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1325	Credits 3	Department Liberal Arts Location Lakeview - 1428
FYS II:Life Account	1005 (003)	Suman Chhabra	Thurs 12:15 PM - 3:00 PM In Person
Description In our creative practices we take our lives into account. You determine the format to share your story. In this course we will read different forms of autobiography: graphic novels, memoirs, essays, poetry, and journals. We will look at the various creative forms writers use to convey information about their lives, discuss why we make artwork about ourselves, and study how each form connects with readers. Though we will read about individual experiences, we will consider their impact on the collective. Readings often include works by Ocean Vuong, Trevor Noah, Diana Khoi Nguyen, EJ Koh, and Kazim Ali among others. In our FYS II course, we will develop our critical reading, writing, and thinking skills. This is a studio writing class in which we will focus on writing as a process. We will freewrite, formulate conceptual questions for the readings, write responses, and compose and revise 20-25 pages in multidraft essays. FYS II develops college-level writing skills, prepares one for upper-level Liberal Arts courses, and allows one to improve expressing their ideas in writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1326	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS II: Race and Horror	1005 (005)	Michael R. Paradiso-Michau	Thurs 8:30 AM - 11:15 AM In Person
Description All FYS 2 students will learn to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in upper-level course work. Students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. This FYS 2 course will explore the interconnected meanings of race, horror, and monstrosity. In particular, we will focus on the presentations and representations of racial difference in the Americas. From Birth of a Nation (1915) to Get Out (2017), and from the transatlantic slave trade to contemporary #BlackLivesMatter movements, African-American struggles for dignity and inclusion have produced ¿philosophies born of struggle,¿ i.e. avenues of critical thought and activism with an eye toward social liberation and freedom from daily fear. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1327	Credits 3	Department Liberal Arts Location Lakeview - 1427
FYS II: Speech and Voice	1005 (006)	Stephen Williams	Thurs 3:30 PM - 6:15 PM In Person
Description How have artists in literature, theater, music, and other sound-based media represented or incorporated the human voice into their work? This FYS II course builds on the writing and thinking skills students began to develop in FYS I by introducing more advanced argumentation and research methods. To guide our inquiry, we might consider questions such as: How do we understand 'authentic' or 'common' speech, what accounts for its claim on our attention, and what are the politics around it? How does its apparent spontaneity relate to formal aspects of a work of art? Why do diverse folk traditions put human speech in the mouths of animals? How do we experience, on the one hand, divine or oracular voices understood to come from beyond humankind, and on the other, AI-generated simulacra? What does it mean to appropriate another's voice, and why is spoken language such a significant marker of individual and collective identity? How have new technologies of amplification, reproduction, and distribution changed how we hear ourselves? Sources we may consider include: Wordsworth, European opera, Brecht / Weill, Lotte Lenya, Cathy Berberian, Derek Walcott, Kamau Braithwaite, Linda Rosenkrantz, Meredith Monk, Bernadette Mayer, Pere Gimferrer, Nathaniel Mackey, American hip hop. Students can expect to produce 20-25 pages of formal, revisable writing, as well as regular in- and out-of-class assignments. The course builds toward a self-directed research paper on a topic of the student's choosing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1310	Credits 3	Department Liberal Arts Location Lakeview - 1428
FYS II: Conspiracy Theories	1005 (008)	Jennie Berner	Wed 12:15 PM - 3:00 PM In Person
Description In this writing-intensive course, we will be using the theme of ¿conspiracy theory¿ to explore what constitutes legitimate (and illegitimate) knowledge in academic, public, and virtual spaces. Our access to information today is unparalleled, but it also demands a kind of vigilance. How do we identify credible sources? What counts as expertise? And how do we think critically about the information we encounter? In addition to analyzing a range of conspiracy theories (e.g. assassinations, alien abductions, false flag operations, artificial diseases, New World Order, and vaccine controversies), we will also consider the broader social, psychological, and political forces that contribute to conspiracy thinking. Course readings will cover a wide array of subtopics including hoaxes, pseudoscience, and fake news. Writing assignments ¿ totaling 20-25 pages over the course of the semester ¿ will emphasize summary, analysis, argument, research, revision, and other academic writing skills, culminating in a research project that allows you to explore unorthodox explanations of a public event, issue, or phenomenon of your choosing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1328	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS II: Recreation & Play	1005 (009)	Raghav Rao	Mon 6:45 PM - 9:30 PM In Person
Description Discretionary time is time that is not constrained by the necessities of life. It is the domain of recreation and play. This class invites students to critically engage with modes of recreation: hobbies, games, outdoor activities, media consumption, creative pursuits, and vice. Through texts and discussion, students will inquire into how society produces and is produced by its modes of recreation, and how social relations are impacted through its dynamics. They will also bring greater attention to themselves and the values undergirding their personal modes of recreation. The focus of this class is to help students develop the skills required to perform academic research. Students will learn how to propose lines of inquiry, shortlist and interrogate sources, reference sources, and synthesize material. Ultimately, the final project for the class will be a high-quality research paper. Over the course of the semester, in total, students will be expected to produce 20-25 pages of material. Texts for the class include Diane Ackerman, Mihaly Csikszentmihalyi, Tricia Hersey, Priya Parker. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 2184	Credits 3	Department Liberal Arts Location Lakeview - 1427
FYS II: Art World in Crisis	1005 (010)	Joshua Rios	Thurs 3:30 PM - 6:15 PM In Person
Description This class examines recent social and political controversies surrounding the contemporary art world, including crises stemming from the power dynamics of gender, class, race, disability, sexual orientation, and other political commitments to international solidarity. Building on foundational writing skills learned in FYS I, students will gain historical and political context about specific moments in contemporary art when marginalized social groups and their allies have mounted protests and critiques of institutions, exhibitions, artists, and artworks. Informed by history, social theory, literature, art journalism, art history, visual studies, and other forms of study, students will become familiar with general and specific issues of institutional racism, sexism, ableism, classism, and xenophobia within the art world and how artists worked together for social change and institutional accountability. Students will engage in rigorous argumentation and the development of a self-directed research paper. Students can expect to write 20 to 25 pages of formal, revisable writing (i.e. one article and one research essay, both with multiple drafts), as well as homework exercises and in-class writing. Students can also expect in-class writing exercises with an emphasis on developing reading skills and critical analysis. Other important aspects of the course include peer review, writing workshops, draft reviews, and individual meetings to discuss writing topics and expectations. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1329	Credits 3	Department Liberal Arts Location Lakeview - 205
FYS II:Paris Noir	1005 (011)	Anita Welbon	Thurs 3:30 PM - 6:15 PM In Person
Description Tanner, Hughes, Baker. Prophet, Bearden, Chase-Rimboud. Wright, Baldwin, Himes. African-American visual, literary, and performing artists have journeyed to Paris for a few months, a year, or a lifetime to find what they could not in the United States, a space to fully explore, develop, and execute their artistic vision. This FYSII course examines the history of African American artists in Paris, exploring the cultural, political, and artistic forces that drew them to the city of light. Through short written responses and longer formal papers, students will continue to develop their writing skills as they consider this rich history. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1330	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS II: Anthropology of Time	1005 (013)	Matilda Stubbs	Fri 12:15 PM - 3:00 PM In Person
Description This writing intensive seminar introduces the anthropological study of time and ethnographic writing about time. From Doctor Who and the Tardis, to keeping or losing track of time like Alice in Wonderland down the rabbit hole, notions of temporality vary across time zones, culture, and space. Using ethnographic writing, this course examines time as a social and historical phenomenon. From agricultural rhythms of rural life in Africa and the Pacific Islands, to astrological and archaeological accounts of time from Celtic and Greek mythology, students will explore the social lives of calendars new and old. This includes other timekeeping tools like clocks and chronological standards in modes of transportation for buses, trains, and planes, including communication and recordkeeping systems like banks, phone records, and emails. Specific emphasis will attend to the objective and subjective understandings of time and the various temporal forms of daily life, drawing from contributions of ethnographic research and social science writing to the study of time from a cross-cultural perspective. Course activities center around developing analytic skills in the genre of ethnographic writing through in-class free writing, generating observational field notes and journaling, two formal and revisable essays, and peer review. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1331	Credits 3	Department Liberal Arts Location Lakeview - 1428
FYS II:Evolution of Tragedy	1005 (015)	Peter Thomas	Thurs 3:30 PM - 6:15 PM In Person
Description This writing course emphasizes close reading of texts, critical thinking, and the analysis of problems and concepts arising in tragic drama through research and the writing of essays. We will use the research and writing process as a means to achieving insights, and students will be asked to employ brainstorming, freewriting, drafting, outlining, re-writing, revising, and editing. Throughout the term, students will also be asked to reflect on their development as they work to establish their own research acumen and writing process that will enable them not only to achieve insights, but also to clearly communicate them in assignments for this course and beyond. What is the difference between bad news and tragedy? How can watching the story of a character come to great misery make an audience feel uplifted? We will consider notions of character, fate, tragic flaw, and nobility as they relate to the tragedy. What defines a tragedy? And who is allowed to be a tragic hero? In this course, we will explore the tragic form, from ancient Greek classics to Shakespearean dramas to more modern variations. We will study works by Sophocles, Shakespeare, Arthur Miller, Sophie Treadwell, Suzan-Lori Parks, and Anne Carson. In addition to short writing assignments, in-class journals, and quizzes, students should expect to write and revise 3 essays totaling 20-25 pages of formal prose. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1313	Credits 3	Department Liberal Arts Location MacLean 501
FYS II:Sherlock Holmes	1005 (016)	Terri Griffith	Fri 12:15 PM - 3:00 PM In Person
Description When Sherlock Holmes made his debut in 1887, no one, especially not his creator Sir Arthur Conan Doyle could have predicted the success of the first consulting detective. Sherlock Holmes has been adapted on the stage, to film, television, comic books, board games, video games, and by other authors into their own detective novels. Even today, we are surrounded by new versions of this favorite character. In this writing course, students will begin by writing essays based on canonical works, then move to writing critical analyses of contemporary interpretations, ending by imagining the future of Sherlock Holmes. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1332	Credits 3	Department Liberal Arts Location MacLean 919
FYS II: The New Hollywood	1005 (017)	Jacob A Hinkson	Thurs 12:15 PM - 3:00 PM In Person
Description In this writing intensive course, we will develop the skills of argument-driven composition as we examine the aesthetic shift in American cinema from the classic Hollywood studio system of the 1940s-1950s to the ¿New Hollywood¿ of the 1960s-1970s. What was the studio system, and how did it end? What system of production took its place? In tracing the cultural and economic shifts that led to the creation of the modern Hollywood, we¿ll also track the reinvention 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 Mark Harris. These materials will inform multiple argument-driven essays which students will draft and revise over the course of the semester. Students should expect to write 20-25 pages of formal, revisable writing, in addition to homework exercises and in-class writing. FYS II will build upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. Eventually, writing will be more self-directed in this FYS II class. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1314	Credits 3	Department Liberal Arts Location MacLean 818
FYS II: The Rocky Childhood	1005 (018)	Eileen Favorite	Wed 12:15 PM - 3:00 PM In Person
Description In this writing-intensive course, we'll read coming-of-age novels and memoirs from influential contemporary writers. Students will engage in close readings of texts that interrogate concepts of resilience, racism, and economic and class oppression as childhood struggles. Writers will include Jeannette Walls, Allison Bechdel, and Kiese Laymon. CONTENT WARNING: The content and discussion in this course will necessarily sometimes engage with issues of human suffering, including physical and sexual abuse. 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. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1315	Credits 3	Department Liberal Arts Location MacLean 818
FYS II:Hello Home	1005 (019)	Suman Chhabra	Wed 8:30 AM - 11:15 AM In Person
Description We have all left our homes to venture here. Perhaps it has been a physical, mental, spiritual, or emotional journey away from home. Now what? What do we think of ourselves in our new homes? What can we understand about ourselves and our previous homes now that we have left them? In this course we will read fiction, nonfiction, graphic novels, and poetry by South Asian diasporic writers. These writers have left India, Pakistan, and Sri Lanka themselves or are first generation in a new country. Readings often include works by Mira Jacob, Deepak Unnikrishnan, Durga Chew Bose, Faisal Mohyuddin, Mohsin Hamid, and Kazim Ali among others. In our FYS II course, we will develop our critical reading, writing, and thinking skills. This is a studio writing class in which we will focus on writing as a process. We will freewrite, formulate conceptual questions for the readings, write responses, and compose and revise 20-25 pages in multidraft essays. FYS II develops college-level writing skills, prepares one for upper-level Liberal Arts courses, and allows one to improve expressing their ideas in writing Prerequisites Prerequisite: ENGLISH 1001.	Class Number 2183	Credits 3	Department Liberal Arts Location Lakeview - 1428
FYS II: Curating Quandaries	1005 (020)	Diane Worobec-Serratos	Wed 8:30 AM - 11:15 AM In Person
Description FYS II builds upon the foundational writing skills developed in FYS I, with the introduction of more rigorous argumentation and research. Students will hone their skills and work toward greater independence in writing tasks while critically examining the act of curation. From personal wardrobes and social media accounts to the sometimes-violent legacy of museum collections, curation is all around us. If curation means to care for items in a collection, what does that care entail? As a form of cultural production, whose needs are being cared for? Whose are being neglected? Which voices are amplified, and which are silenced? In a broader context, can curation be an emancipatory practice in the struggle for social justice? As artists, what is our responsibility in selecting, grouping, and caring for our work? To investigate these questions, in the first part of the course, students will explore a variety of curatorial geographies, looking critically at how commodification, patriarchal racism, and colonial capitalism have informed and disrupted curatorial practices over time. Later, students will apply the reflections and insights from course readings and activities to research a curatorial endeavor of their choosing. Students will write 20 to 25 pages of formal, revisable writing (i.e., one essay and one research project, both with multiple drafts) as well as homework exercises and in-class writing. Writing and class activities will emphasize the development of responding critically to a variety of texts and sources to prepare students for the challenges in their coursework at SAIC. To that end, peer review, class workshopping of student papers, and individual meetings to discuss each student's writing will be required. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 2182	Credits 3	Department Liberal Arts Location MacLean 818
FYS II: Nuclear Problems & Society	1005 (021)	Aiko Kojima Hibino	Thurs 12:15 PM - 3:00 PM In Person
Description When the first artificial self-sustaining nuclear chain reaction was created in 1942 in Chicago, human society was destined to tackle with an unsolvable conundrum. How could our society possibly justify the augmentation of this enormous power that could destroy our own existence? This course investigates discourses around two major uses of nuclear power in society ¿ nuclear weapons and nuclear energy ¿ and examines them through social justice lenses. Key points of inquiry include: what risks are associated with nuclear weapons and energy and how they have been evaluated in contrast to their benefits, how the damages that were caused by nuclear weapons and energy have been addressed and mended, and whether the harms that were made by nuclear weapons and energy equally impact all groups of people. Building on the basic reading and writing skills introduced in FYS I, FYS II will further students¿ academic skills in writing an independent research paper. Therefore, in this course, students are expected to read primary and secondary sources to collect evidence to develop their critical arguments on nuclear problems. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1334	Credits 3	Department Liberal Arts Location MacLean 919
FYS II: The Interpretation of Dreams	1005 (022)	David B. Johnson	Tues 3:30 PM - 6:15 PM In Person
Description First-Year Seminars can be thought of as writing studios: their purpose is to help you develop your academic writing skills by practicing writing, revision, and critique. Each FYS course is organized around a topic that orients students¿ writing practice; the topic of this course is the interpretation of dreams. Dreams have fascinated human beings for a long time. Whether understood as a source of inspiration, a cause for amusement, a glimpse into the soul, a pool of diagnostic information, or an everyday process of cognitive housekeeping, dreams have been regarded by some of history¿s most penetrating thinkers as essential to the project of making sense of ourselves and our place in the world. In this course we will investigate the writings of some eminent interpreters of dreams, and through the writing process we will develop our own interpretations in response to their ideas. Our readings will draw upon ancient and medieval philosophy (Aristotle, Zhuangzi, Augustine), early psychoanalysis (Freud, Jung), and contemporary dream science. In addition to short homework assignments, students will complete two major papers¿a Texts-in-Conversation Essay and a Research Paper¿which will go through multiple rounds of review and revision. Throughout the course, we will focus on strategies and techniques for effective writing, including idea-generation, composition, revision, and argument-construction. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1316	Credits 3	Department Liberal Arts Location MacLean 111
FYS II: Writing and Walking	1005 (024)	Suzanne Scanlon	Fri 12:15 PM - 3:00 PM In Person
Description This course invites students to explore the relationship between walking and writing-two practices that open space for reflection, discovery, and transformation. Writers and artists have long turned to walking as a way of seeing differently, of mapping inner and outer landscapes, of lingering, wandering, or breaking free. In this first-year writing seminar, we will read and write with walking in mind, considering how movement through city streets, rural paths, and unfamiliar places shapes identity, knowledge, escape, and transcendence. Our texts will treat walking as both subject and structure. Authors and artists may include Virginia Woolf, Frank O¿Hara, Agnès Varda, Rebecca Solnit, Harryette Mullen, Garnette Cadogan, Sheila Heti, T Clutch Fleischmann, and Carmen Maria Machado. Together, we will ask how movement shapes thought, memory, perception, and creativity, and what it means for writing to carry the rhythm of a walk. Students will develop their own writing practices in dialogue with these works, producing essays that experiment with form as well as argument. Over the semester, they will complete 20¿25 pages of formal, revisable writing, culminating in a final research project that considers walking as a method for making meaning. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1343	Credits 3	Department Liberal Arts Location MacLean 617
FYS II:The Critical and the Fine	1005 (025)	Herman Stark	Wed 6:45 PM - 9:30 PM In Person
Description This intense writing course fosters college-level writing skills at a level suitable for upper level Liberal Arts courses. Various types of essays will be executed (e.g., analysis, comparison and contrast) over a number of drafts. As for content, the course targets two aesthetic and philosophical phenomena: the critical and the fine. These phenomena can appear apart (e.g., critical thinking apart from the fine can lead to cynicism and even misology), but they can, in synthesis, produce both philosophy and art of the highest order. M. Gelven's text, The Quest for the Fine, and J. Lynch's The English Language, provide examples from philosophy, art, and language that illustrate paradigmatic syntheses of the critical and the fine. We'll consider, for example, the following distinction: The active voice lends crispness to your writing...but the passive voice works well when the action is more relevant than the person or thing doing the action. By reviewing such instances of grammatical and syntactical precision, across different topics, we will develop our internal sense of the fine. As for the critical, consider the following line by Emily Dickinson: 'Because I could not stop for death...he kindly stopped for me....' It takes the critical touch of a master poet to insert kindly; why, after all, kindly? Do not humans tend to flee death? Is not death a topic to be avoided? Do not many of us rather wish, sometimes idly and sometimes fervently, that we could live forever, or at least longer than we do? Or, has the poet revealed an ambiguity in how one might really feel, and think, about one's mortality? In this seminar, we will learn to make and appreciate such examples in writing, and indeed in writing that displays a heightened criticality and a heightened sense of the fine. Fine and critical writing is expected each week in weekly seminar reports, and over the entire semester in four essays, resulting in 20-25 pages of formal, revised writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1318	Credits 3	Department Liberal Arts Location Lakeview - 1428
FYS II: (Still) Life-Writing	1005 (026)	Aaron Greenberg	Wed 12:15 PM - 3:00 PM In Person
Description What is the meaning of life? How does life translate to the page and canvas? In this course, we will practice the art of writing by representing its relations to life. FYS II develops college-level writing skills, preparing students for upper-level Liberal Arts courses. We¿ll focus on still lifes¿among the most enduring, versatile, and overlooked art forms¿which illuminate new perspectives on the lives of artists and the lives of objects we represent. Authors including Lisa Knopp and Norman Bryson will provide critical context for the course, while artists including Alice Neel, Georges Braque, Fernand Léger, Juan Sánchez Cotán, Jonas Wood, Henri Matisse, and Pablo Picasso will set the table with examples of the genre. However, students will develop writing projects around still life artists of their choice. We will experiment with ekphrasis, the detailed written description of visual art. We¿ll write about art that portrays the interplay of life, death, and (in)animacy, as we consider the history of ideas represented through still lifes including: the limits and possibilities of genre, vanitas, memento mori, and subject/object relations. Students will create 20-25 pages of formal, revisable, and (if they choose) publishable writing across three short essays and two in-depth revisions. Students will also learn to write a research paper, using scholarly constraints to enhance creativity. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1319	Credits 3	Department Liberal Arts Location MacLean 919
FYS II: Hollywoodland	1005 (028)	Zachary Tavlin	Mon 12:15 PM - 3:00 PM In Person
Description FYS II are theme-based writing courses designed for first-year students, with an emphasis on further developing the foundational writing skills students learned in FYS I. Students will continue to hone the intellectual skills of reading critically, and writing responsively, which forms the basis of each student's career at the School. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds, which may include critical, analytical and argumentative essays, and must include the research paper. It is a policy of the department that at least one essay be a research paper which may involve searching for sources in a library or online, learning to make citations, and preparing an annotated bibliography. A significant amount of time is devoted to the craft of writing, and more sophisticated methods of argumentation and use of evidence and developing independent claims and ideas are explored. Students should expect to write 20-25 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing, short homework exercises, and workshopping of student work may be included. Individual meetings to discuss each student's papers should be expected. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1337	Credits 3	Department Liberal Arts Location MacLean 501
FYS II: Creative Nonfiction	1005 (030)	Alexander W Jochaniewicz	Tues 8:30 AM - 11:15 AM In Person
Description True stories change people, and no other genre does this quite like Creative Nonfiction. While difficult to define, Creative Nonfiction is both experimental and traditional, blending fact with fiction, purpose with style¿an alchemy of poetry, fiction, and drama mixed with nonfiction¿the memoir, the chronicle, the essay¿to reveal what really happened, to me, to them. Entertaining and informative, yes¿personal, perhaps¿transformative, always. Reading Creative Nonfiction¿and writing it¿will change you, forever¿even if only by a single degree, like cracking a combination lock, slowly spinning the dial, your ear pressed against the vault, silently listening for that unmistakable¿click. This course will build upon what was learnt and practiced in First Year Seminar I with an emphasis in research and persuasion. Students can expect reading some killer works of literature and engaging in various stages in the writing process, including topic proposals and individual conferences, researching and reviewing scholarship, presentations and preliminary drafts, and peer reviewing and revising. The first half of the course will be geared towards reading various examples of Creative Nonfiction, examining elements of style and craftsmanship¿and the second half of the course will be more focused on a larger Creative Nonfiction project of the student¿s own discernment. Students should expect to write 20-25 pages of revisable writing, including shorter works of analysis, reflection, and scholarship review, as well as a longer final project. Overall, students will learn to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in upper-level course work. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1320	Credits 3	Department Liberal Arts Location Lakeview - 206
Introduction to Fashion, Body, and Garment	1010 (001)	Janet Kang	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 1354	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 702
Introduction to Fashion, Body, and Garment	1010 (002)	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 1355	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 702
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1229	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1229	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Foundations Writing Workshop	1011 (001)	Jennie Berner	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 1009	Credits 3	Department Liberal Arts Location Sharp 706
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1230	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1230	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1231	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1231	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (004)	Troy Daniel Briggs, Loretta Bourque	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1232	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (004)	Troy Daniel Briggs, Loretta Bourque	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1232	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (005)	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. Prerequisites Open to Freshmen only.	Class Number 1233	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1233	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1234	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1234	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (007)	Troy Daniel Briggs, Assaf Evron	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1235	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (007)	Troy Daniel Briggs, Assaf Evron	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1235	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1236	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1236	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (009)	Ruby Que, 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. Prerequisites Open to Freshmen only.	Class Number 1237	Credits 3	Department Contemporary Practices Location Sharp 407, Sharp 410
Core Studio Practice II	1011 (009)	Ruby Que, 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. Prerequisites Open to Freshmen only.	Class Number 1237	Credits 3	Department Contemporary Practices Location Sharp 407, Sharp 410
Core Studio Practice II	1011 (010)	Maria Gaspar, Benjamin Melamed Pearson	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1238	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (010)	Maria Gaspar, Benjamin Melamed Pearson	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1238	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (011)	Hope Roberts Esser, John Henley	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1239	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (011)	Hope Roberts Esser, John Henley	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1239	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1240	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1240	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (013)	Benjamin Melamed Pearson, Rebecca Beachy	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1241	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (013)	Benjamin Melamed Pearson, Rebecca Beachy	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1241	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1242	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1242	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (017)	John Henley, Hope Roberts Esser	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1245	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (017)	John Henley, Hope Roberts Esser	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1245	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1246	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (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. Prerequisites Open to Freshmen only.	Class Number 1246	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (019)	Kris Derek Hechevarria, S. Bailey Jacobson	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1247	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (019)	Kris Derek Hechevarria, S. Bailey Jacobson	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1247	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (020)	Claire Ashley, Maria Burundarena	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1248	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (020)	Claire Ashley, Maria Burundarena	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers. In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership. Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty. Prerequisites Open to Freshmen only.	Class Number 1248	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice I: Transfers	1012 (001)	Julietta Cheung	Tues 9:00 AM - 3:00 PM In Person
Description Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production. Prerequisites Open to Freshmen only.	Class Number 1252	Credits 3	Department Contemporary Practices Location Sharp 332
Core Studio Practice I: Intensive	1014 (001)	Kirsten Leenaars	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Core Studio introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production. Core Studio Intensive consolidates a year-long course into a single semester. Students must be concurrently enrolled in both Core Studio Intensive I and Core Studio Intensive II. Prerequisites Must enroll in Core Intensive I and II together and be a first year student	Class Number 1254	Credits 3	Department Contemporary Practices Location Sharp 407, Sharp 410
Introduction to Ceramic Sculpture	1014 (001)	Anthony Park Kascak	Mon/Wed 6:45 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 2087	Credits 3	Department Ceramics Location 280 Building Rm M152
Core Studio Practice II: Intensive	1015 (001)	Kirsten Leenaars	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Core Studio introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production. Core Studio Intensive consolidates a year-long course into a single semester. Students must be concurrently enrolled in both Core Studio Intensive I and Core Studio Intensive II. Prerequisites Must enroll in Core Intensive I and II together and be a first year student	Class Number 1255	Credits 3	Department Contemporary Practices Location Sharp 407, Sharp 410
Survey of Modern and Contemporary Painting	1017 (001)	Mark Krisco	Thurs 12:15 PM - 3:00 PM In Person
Description This class reveals the fine art, photography and art theories of late 19th century to the present day. The first half of the semester focusing on the period 1851 to the economic crash of 1929; which had been a time of rapid social, economic and political change impacted by revolutions in communication systems, technology and easy availability of reproductions. Students will gain a comprehensive and chronological picture of the major art movements and their engagement with or reaction against previous art and artists. The major artists of the major movements of Impressionism, Cubism, Purism, Expressionism, Futurism, Surrealism and Abstraction will be addressed in regards to their aims and achievements.These include - to name the most prominent - Claude Monet, Paul Cezanne, Picasso, Braque, Leger, Kirchner, Severini, Magritte, Dali and Kandinsky and Mondrian.The class ending with major 20th century artists from Pollock and De Kooning of Abstract Expressionism to Pop artists Andy Warhol and Roy Lichtenstein to current times and how they relate to this legacy and the concept of an art museum in terms of urban capitalism, Colonialism, Nationalism and Internationalism. This class has weekly reading assignments from two major texts ; one written by art historian Richard Brettell and one written by artist Alex Katz. Written questions about these readings will be assigned as well. The class also often has sketching and student discussions in the museum. There is also one final paper on the artist covered most admired by each student.	Class Number 1038	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Research Studio I	1020 (001)	Lindsay Kelley	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. Prerequisites Open to Freshmen only.	Class Number 1225	Credits 3	Department Contemporary Practices Location Sharp 314
Research Studio I	1020 (002)	Isaac Vazquez	Wed 9:00 AM - 3:00 PM In Person
Description This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement. Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. Prerequisites Open to Freshmen only.	Class Number 1226	Credits 3	Department Contemporary Practices Location Sharp 1215
Research Studio I	1020 (004)	AJ McClenon	Tues 3:30 PM - 9:15 PM In Person
Description This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement. Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. Prerequisites Open to Freshmen only.	Class Number 1228	Credits 3	Department Contemporary Practices Location Sharp 328
English for International Students: English Language Fluency	1021 (001)	Aram Han Sifuentes	Tues 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 1286	Credits 3	Department Liberal Arts Location MacLean 112
Research Studio I: Transfers	1021 (001)	Julietta Cheung	Mon 9:00 AM - 3:00 PM In Person
Description In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community. Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. Prerequisites Open to Incoming Transfer Students Only	Class Number 1256	Credits 3	Department Contemporary Practices Location Sharp 310
Research Studio I: Transfers	1021 (002)	Kirsten Leenaars	Tues 9:00 AM - 3:00 PM In Person
Description In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community. Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems. Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others. Prerequisites Open to Incoming Transfer Students Only	Class Number 1257	Credits 3	Department Contemporary Practices Location Sharp 315
Research Studio II	1022 (001)	Tom Burtonwood	Mon 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1224	Credits 3	Department Contemporary Practices Location Sharp 314
Research Studio II	1022 (002)	Nicholas Lowe	Mon 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1185	Credits 3	Department Contemporary Practices Location Sharp 315
Research Studio II	1022 (003)	Stevie Hanley	Mon 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1186	Credits 3	Department Contemporary Practices Location Sharp 215
Research Studio II	1022 (004)	Steven Heyman	Mon 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1187	Credits 3	Department Contemporary Practices Location Sharp 216
Research Studio II	1022 (005)	Burton Isenstein	Mon 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1188	Credits 3	Department Contemporary Practices Location Sharp 332
Research Studio II	1022 (008)	Joshua Rios	Tues 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1191	Credits 3	Department Contemporary Practices Location Sharp 326
Research Studio II	1022 (009)	Alison Ruttan	Tues 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1192	Credits 3	Department Contemporary Practices Location Sharp 328
Research Studio II	1022 (010)	David Lozano	Tues 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1193	Credits 3	Department Contemporary Practices Location Sharp 310
Research Studio II	1022 (011)	Laura Davis	Wed 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1194	Credits 3	Department Contemporary Practices Location Sharp 326
Research Studio II	1022 (014)	Julietta Cheung	Wed 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1197	Credits 3	Department Contemporary Practices Location Sharp 332
Research Studio II	1022 (016)	Delano Dunn	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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1199	Credits 3	Department Contemporary Practices Location Sharp 314
Research Studio II	1022 (017)	Maria Gaspar	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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1200	Credits 3	Department Contemporary Practices Location Sharp 315
Research Studio II	1022 (018)	Susan Giles	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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1201	Credits 3	Department Contemporary Practices Location Sharp 329
Research Studio II	1022 (020)	AJ McClenon	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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1203	Credits 3	Department Contemporary Practices Location Sharp 314
Research Studio II	1022 (021)	Amy Vogel	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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1204	Credits 3	Department Contemporary Practices Location Sharp 326
Research Studio II	1022 (022)	Peter Jorge Fagundo	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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1205	Credits 3	Department Contemporary Practices Location Sharp 328
Research Studio II	1022 (023)	Armando Román	Tues 3:30 PM - 9:15 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1206	Credits 3	Department Contemporary Practices Location Sharp 326
Research Studio II	1022 (024)	Pablo Enrique Monterrubio-Benet	Tues 3:30 PM - 9:15 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1207	Credits 3	Department Contemporary Practices Location Sharp 329
Research Studio II	1022 (025)	Elena Ailes	Tues 3:30 PM - 9:15 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1260	Credits 3	Department Contemporary Practices Location Sharp 314
Research Studio II	1022 (026)	Andrew Martin Roche	Thurs 3:30 PM - 9:15 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1208	Credits 3	Department Contemporary Practices Location Sharp 315
Research Studio II	1022 (028)	Paola Cabal	Mon/Wed 6:45 PM - 9:15 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1210	Credits 3	Department Contemporary Practices Location Sharp 213
Research Studio II	1022 (029)	Mathew Wilson	Mon/Wed 6:45 PM - 9:15 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1211	Credits 3	Department Contemporary Practices Location Sharp 214
Research Studio II	1022 (030)	Alberto Aguilar	Mon/Wed 6:45 PM - 9:15 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1212	Credits 3	Department Contemporary Practices Location Sharp 215
Research Studio II	1022 (031)	Sarah Bastress	Mon/Wed 6:45 PM - 9:15 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. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1213	Credits 3	Department Contemporary Practices Location Sharp 216
English for International Students: Critique	1031 (001)	C. C. Ann Chen	Tues 8:30 AM - 11:15 AM In Person
Description This critique course is offered for students who do not speak English as their first language. Students build competence in giving critiques, participating in class discussions, and giving presentations. Students make artwork to present to the class. They learn and practice the vocabulary of visual and design elements and use these to analyze and critique their own and their classmates' works. Students practice a variety of critique formats by using formal, social-cultural, and expressive theories of art criticism. They discuss and critique works both verbally and in writing.	Class Number 1295	Credits 3	Department Liberal Arts Location MacLean 111
English for International Students: Tutorial	1035 (001)		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 1296	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (002)		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 1287	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (003)	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 1297	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (004)	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 1288	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (005)	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 1298	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (006)	Aram Han Sifuentes	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 1289	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (008)		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 1290	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (009)	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 1300	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (010)	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 1291	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (012)	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 1292	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (013)	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 1301	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (014)	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 1293	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
Introduction to Performance	1101 (001)	Sara Jane Bailes	Wed 9:00 AM - 3:00 PM In Person
Description This course introduces the student to basic elements of performance art; body and objects, form and content, space and time, and enactment and documentation. The exploration will be encouraged by visiting artists' workshops or field trips to performance events throughout the course. Students develop individual and collaborative projects infusing their own narratives and making real human connections. Primarily a beginner's course but open to all levels of students.	Class Number 1507	Credits 3	Department Performance Area of Study Gender and Sexuality Location 280 Building Rm 012
Printmedia Practices	1101 (001)	Marylu Herrera	Tues 9:00 AM - 3:00 PM In Person
Description This course offers students the opportunity to explore printmedia as a viable contemporary practice. Students will examine the formal qualities of the printed mark as well as issues of multiplicity, replication, and dissemination inherent to the medium. To aid student understanding, this course will balance discussions of relevant artists and thinkers with a range of technical and conceptual approaches. Students will engage in two processes which may include screenprinting, plate lithography, relief printmaking, intaglio, and book arts depending on the faculty. Students will learn additional print techniques like stencils, monoprints, and participate in a Risography print exchange, in conjunction with concepts germane to this diverse and historically significant area of creative production. Guided by assigned readings, presentations, assignments and group critiques students will develop a body of work in dialogue with contemporary printmedia.	Class Number 1542	Credits 3	Department Printmedia Location 280 Building Rm 223
Introduction to Sculptural Practices	1101 (001)	Kelly F. Kaczynski	Thurs 9:00 AM - 3:00 PM In Person
Description This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture. Prerequisites Open to Freshmen only.	Class Number 1712	Credits 3	Department Sculpture Area of Study Furniture Design, Public Space, Site, Landscape Location 280 Building Rm 023
Printmedia Practices	1101 (002)	Jasper Goodrich	Tues 9:00 AM - 3:00 PM In Person
Description This course offers students the opportunity to explore printmedia as a viable contemporary practice. Students will examine the formal qualities of the printed mark as well as issues of multiplicity, replication, and dissemination inherent to the medium. To aid student understanding, this course will balance discussions of relevant artists and thinkers with a range of technical and conceptual approaches. Students will engage in two processes which may include screenprinting, plate lithography, relief printmaking, intaglio, and book arts depending on the faculty. Students will learn additional print techniques like stencils, monoprints, and participate in a Risography print exchange, in conjunction with concepts germane to this diverse and historically significant area of creative production. Guided by assigned readings, presentations, assignments and group critiques students will develop a body of work in dialogue with contemporary printmedia.	Class Number 1546	Credits 3	Department Printmedia Location 280 Building Rm 222
Printmedia Practices	1101 (003)	bex ya yolk	Tues 9:00 AM - 3:00 PM In Person
Description This course offers students the opportunity to explore printmedia as a viable contemporary practice. Students will examine the formal qualities of the printed mark as well as issues of multiplicity, replication, and dissemination inherent to the medium. To aid student understanding, this course will balance discussions of relevant artists and thinkers with a range of technical and conceptual approaches. Students will engage in two processes which may include screenprinting, plate lithography, relief printmaking, intaglio, and book arts depending on the faculty. Students will learn additional print techniques like stencils, monoprints, and participate in a Risography print exchange, in conjunction with concepts germane to this diverse and historically significant area of creative production. Guided by assigned readings, presentations, assignments and group critiques students will develop a body of work in dialogue with contemporary printmedia.	Class Number 1554	Credits 3	Department Printmedia Location 280 Building Rm 221
Intro to Writing as Art	1102 (001)		Mon 12:15 PM - 3:00 PM In Person
Description This class serves as an entry into the historical, theoretical and practical concerns of creative writing as an art form in itself and as a vital element of interdisciplinary projects. We explore the possibilities of fiction, non-fiction, poetry, plays and hybrid practices as writing for the page, as well as for performance, sound, installation, and image-based pieces. Readings include diverse examples of genre and form, as well as investigations of literary and thematic terminology. Students generate weekly responses to reading and writing exercises that focus on understanding the mechanics of writing, and are introduced to workshopping techniques and etiquette.	Class Number 1817	Credits 3	Department Writing Location Lakeview - 808
Intro to Writing as Art	1102 (002)	Adithi Chandrashekar	Tues 3:30 PM - 6:15 PM In Person
Description This class serves as an entry into the historical, theoretical and practical concerns of creative writing as an art form in itself and as a vital element of interdisciplinary projects. We explore the possibilities of fiction, non-fiction, poetry, plays and hybrid practices as writing for the page, as well as for performance, sound, installation, and image-based pieces. 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 1823	Credits 3	Department Writing Location Lakeview - 803
Media Practices: The Moving Image	2000 (001)	James Connolly, Eric Fleischauer	Tues 9:00 AM - 3:00 PM In Person
Description This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.	Class Number 1414	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Social Media and the Web Location MacLean 314
Media Practices: The Moving Image	2000 (001)	James Connolly, Eric Fleischauer	Tues 9:00 AM - 3:00 PM In Person
Description This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.	Class Number 1414	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Social Media and the Web Location MacLean 314
Introduction To Fiber/Material Studies	2000 (001)	Carina Yepez	Mon 9:00 AM - 3:00 PM In Person
Description This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.	Class Number 1389	Credits 3	Department Fiber and Material Studies Location Sharp 902
Media Practices: The Moving Image	2000 (002)	Thomas Comerford, Kera MacKenzie	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 1415	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Social Media and the Web Location MacLean 314
Media Practices: The Moving Image	2000 (002)	Thomas Comerford, Kera MacKenzie	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 1415	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Social Media and the Web Location MacLean 314
Introduction To Fiber/Material Studies	2000 (002)	Sofía Fernández Díaz	Tues 9:00 AM - 3:00 PM In Person
Description This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.	Class Number 1390	Credits 3	Department Fiber and Material Studies Location Sharp 1014
Media Practices: The Moving Image	2000 (003)	Peixuan Ouyang, Kioto Aoki	Thurs 9:00 AM - 3:00 PM In Person
Description This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.	Class Number 1437	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Social Media and the Web Location MacLean 314
Media Practices: The Moving Image	2000 (003)	Peixuan Ouyang, Kioto Aoki	Thurs 9:00 AM - 3:00 PM In Person
Description This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.	Class Number 1437	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Social Media and the Web Location MacLean 314
Introduction To Fiber/Material Studies	2000 (003)	Vanessa Viruet	Mon/Wed 6:45 PM - 9:15 PM In Person
Description This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.	Class Number 1401	Credits 3	Department Fiber and Material Studies Location Sharp 902
Introduction To Fiber/Material Studies	2000 (004)	Sarita Garcia	Fri 9:00 AM - 3:00 PM In Person
Description This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.	Class Number 1391	Credits 3	Department Fiber and Material Studies Location Sharp 902
Media Practices: The Moving Image	2000 (004)	Asya Dubrovina, Fernando Saldivia Yáñez	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 2236	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Social Media and the Web Location MacLean 314
Media Practices: The Moving Image	2000 (004)	Asya Dubrovina, Fernando Saldivia Yáñez	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 2236	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Social Media and the Web Location MacLean 314
Introduction to Sound Practices	2001 (001)	Eshovo Momoh	Mon/Wed 6:45 PM - 9:15 PM In Person
Description This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department's upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of 'sound art' and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors' preferences. Readings are similarly set according to the instructors' syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student's own computers and recordings), but the emphasis is on mastering the studio.	Class Number 1115	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 420
Issues in Visual Critical Studies	2001 (001)	Patrick Durgin	Tues 12:15 PM - 3:00 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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2148	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location Lakeview - 202
Spanish I	2001 (001)	Sabra Duarte	Tues 3:30 PM - 6:15 PM In Person
Description An introductory course in reading, writing, and conversational Spanish. Prerequisites Prerequisite: First Year English requirement.	Class Number 1505	Credits 3	Department Liberal Arts Location Lakeview - 1427
Architecture Foundation Studio	2001 (001)	Keefer Dunn	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 2288	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1406B
Painting Practice	2001 (001)	Winnie Weiyun Szu	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 1633	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Issues in Visual Critical Studies	2001 (001)	Patrick Durgin	Tues 12:15 PM - 3:00 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 2244	Credits 3	Department Visual and Critical Studies Area of Study Theory Location Lakeview - 202
Introduction to Sculptural Practices	2001 (001)	Max Guy	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. Prerequisites Prerequisite: Must be a sophomore or above.	Class Number 1706	Credits 3	Department Sculpture Location 280 Building Rm 023
Introduction to Sound Practices	2001 (002)	Eric Leonardson	Fri 9:00 AM - 3:00 PM In Person
Description This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department's upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of 'sound art' and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors' preferences. Readings are similarly set according to the instructors' syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student's own computers and recordings), but the emphasis is on mastering the studio.	Class Number 1116	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 420
Architecture Foundation Studio	2001 (002)	Jaak Jurisson	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 2289	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1241
Beginning Graphic Design	2001 (002)	Jiwon Son	Tues 9:00 AM - 3:00 PM In Person
Description In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3-4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses. Prerequisites Prerequisite: VISCOM 1001 and 2011	Class Number 1776	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1214
Painting Practice	2001 (002)	Richard Hull	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 1634	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Introduction to Sculptural Practices	2001 (002)	Jeffrey Prokash	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. Prerequisites Prerequisite: Must be a sophomore or above.	Class Number 1714	Credits 3	Department Sculpture Location 280 Building Rm 023
Introduction to Sound Practices	2001 (003)	Whitney D. Johnson	Thurs 9:00 AM - 3:00 PM In Person
Description This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department's upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of 'sound art' and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors' preferences. Readings are similarly set according to the instructors' syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student's own computers and recordings), but the emphasis is on mastering the studio.	Class Number 1117	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 420
Beginning Graphic Design	2001 (003)	Jiwon Son	Wed 9:00 AM - 3:00 PM In Person
Description In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3-4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses. Prerequisites Prerequisite: VISCOM 1001 and 2011	Class Number 1796	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1116
Painting Practice	2001 (003)	Amanda Joy Calobrisi	Tues 9:00 AM - 3:00 PM In Person
Description Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.	Class Number 1635	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (004)	Jaclyn Gaye Mednicov	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 1636	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Painting Practice	2001 (005)	Noah Rorem	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 1637	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (006)	Arden Henderson	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 1638	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Painting Practice	2001 (007)	Dan Devening	Wed 9:00 AM - 3:00 PM In Person
Description Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.	Class Number 1639	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (008)	Ava L Peterson	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 1640	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Painting Practice	2001 (009)	Ahmad D George	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 1655	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (010)	Dylan Rabe	Fri 9:00 AM - 3:00 PM In Person
Description Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.	Class Number 1656	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Woven Structure	2002 (001)	Jerry Bleem	Mon 9:00 AM - 3:00 PM In Person
Description This course introduces floor loom hand weaving through the study of weave structures, woven image techniques, and fiber types. Students will explore both traditional and experimental approaches to material and technique, including double weaves, dyed warps, and hand-manipulated methods such as brocade and inlay. Over the course of the semester, students will produce finished weavings on 4-harness floor looms through in depth exploration and research. The course also examines the global histories of woven cloth through readings, presentations, and class discussions. Artists studied may include Diedrick Brackens, Lenore Tawney, and Gunta Stölzl, alongside writings by Anni Albers, T'ai Smith, and Dieter Hoffman-Axthelm. Students will learn to read and work from weaving draft patterns and will conduct independent research into artists and techniques of personal interest. Throughout, the course engages with the conceptual and material considerations of contemporary craft-based art. Students present finished and in-progress work in individual and group critiques throughout the semester.	Class Number 1392	Credits 3	Department Fiber and Material Studies Location Sharp 1011
Beginning Etching	2002 (001)	Frances Lightbound	Wed 9:00 AM - 3:00 PM In Person
Description Students are introduced to basic intaglio methods such as drypoint, etching, soft ground, aquatint, chine colle, multi-plate printing, and color ink techniques. 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 1555	Credits 3	Department Printmedia Location 280 Building Rm 223
Image Studio	2002 (001)		Wed 9:00 AM - 3:00 PM In Person
Description Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information. We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1778	Credits 3	Department Visual Communication Design Area of Study Digital Imaging, Graphic Design Location Sharp 1214
Comics	2002 (001)	Johnny Sampson	Mon/Wed 6:45 PM - 9:15 PM In Person
Description The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.	Class Number 1644	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location 280 Building Rm 306
Image Studio	2002 (002)	Riesling Dong	Thurs 9:00 AM - 3:00 PM In Person
Description Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information. We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1777	Credits 3	Department Visual Communication Design Area of Study Digital Imaging, Graphic Design Location Sharp 1214
Comics: Making Comics from Life: Autobiography, Me	2002 (002)	Marnie Galloway	Thurs 3:30 PM - 9:15 PM In Person
Description The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.	Class Number 1645	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location 280 Building Rm 308
Image Studio	2002 (003)	Donald Pollack	Fri 9:00 AM - 3:00 PM In Person
Description Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information. We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1799	Credits 3	Department Visual Communication Design Area of Study Digital Imaging, Graphic Design Location Sharp 1214
Comics:Drawing Outside The Boxes	2002 (003)	Jeffrey David Brown	Tues 9:00 AM - 3:00 PM In Person
Description It can be easy for students to become so focused on the final product of art making that they lose sight of the importance of process. To that end, this studio class aims to encourage students to play and experiment within the medium of comics, creating projects with methods they wouldn?t normally use, and avoiding the urge to fall back on their usual or expected ways of working. Students will not need to worry about making a great piece of art, and instead can learn more about their own art practice and what does or doesn?t work for them. This class will look at a variety of artists, genres, and forms in the comics medium. The types of comics investigated may include everything from traditional superhero genre comics, to handmade art comics, graphic novels, abstract comics, newspaper gag comics, and even content that may or may not be considered comics, depending on how one defines ?comics.? Students will also be encouraged to share their favorite comics or whatever they?re currently reading, and to look into books and comics they aren?t familiar with. After casual critiquing of the previous week?s work, each class begins a new project or exercise that starts with a prompt or general parameters, which students use as starting points to follow in whatever direction interests them.	Class Number 1646	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location 280 Building Rm 306
Graphic Narrative	2002 (004)	Cecilia Beaven	Tues 3:30 PM - 9:15 PM In Person
Description The students will gain a better understanding of graphic narrative by exploring its diverse history, looking at contemporary work, and critically discussing what graphic narrative does. In this course, the students will examine forms of sequential art beyond the Western canon, they will look at Pre-Columbian codexes, Latin American contemporary comics, manga, and feminist and punk comics, among others.	Class Number 1647	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location 280 Building Rm 306
Comics	2002 (005)	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 1648	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location 280 Building Rm 308
Comics: Play, and Process	2002 (007)	Sophie Goalson	Thurs 9:00 AM - 3:00 PM In Person
Description This course explores comics as a space for play, exploration, and critical inquiry. Students will engage with drawing and writing as intertwined practices, using comics to examine memory, thought, and storytelling. Through a mix of diary comics, experimental exercises, and structured assignments, students will challenge their own ideas of what makes a comic a comic and develop a personal approach to the medium. In addition to making work, students will read and discuss texts by artists and thinkers. Selected readings include works by Lynda Barry, Cintra Wilson, Julia Kristeva, Jean Little, Lela Lee, J. Jefferson Farjeon, Allie Brosh, and others. These texts will serve as a foundation for discussions on creativity, nonlinear storytelling, and the relationship between image and text. The class will also consider how comics operate as both personal expression and cultural commentary, thinking critically about the ethics of storytelling, subjectivity, and artistic voice. Students will produce a body of work over the course of the semester, including weekly exercises, process-based experiments, and a final project that explores comics as a mode of thinking. Regular critiques will focus on development rather than refinement, reinforcing the idea that comics are a process rather than a product. No prior drawing experience is required¿only a willingness to engage in playful, iterative, and messy creation.	Class Number 1650	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location 280 Building Rm 308
Comics: Idea to Execution	2002 (008)	Sara Varon	Wed 9:00 AM - 3:00 PM In Person
Description Good stories can come from anywhere, and any story can be interesting no matter the subject matter. This class will focus on the best way to create concepts for stories and how to properly execute them, with a strong emphasis on writing, revision, using the proper tools, artistic process and drawing technique. Students will complete short, one to two page stories each week, while also working toward three six to eight page stories that will be compiled into their own printed comic at the end of the semester. Various comic samples will be provided from a range of diverse sources. Short story assignments will be assigned in the beginning of the semester that will focus on specific aspects of making comics (i.e. perspective, using reference, creating mood, etc). Students will also be making three longer stories that will be compiled into one comic at the end of the semester.	Class Number 1654	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location 280 Building Rm 308
Comics: Comics of The Self: From Autobiography to	2002 (009)	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 1657	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location 280 Building Rm 306
Color	2003 (001)	Steven Husby	Mon 9:00 AM - 3:00 PM In Person
Description This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice. In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work.	Class Number 1651	Credits 3	Department Painting and Drawing Area of Study Graphic Design, Illustration Location 280 Building Rm 308
Beginning Lithography	2003 (001)	Thuong Tran	Mon 9:00 AM - 3:00 PM In Person
Description Students are introduced to lithography through an exploration of stone lithography¿s characteristic dynamic range of direct drawn, painterly and graphic possibilities for image development. Emphasis is placed on gaining a thorough understanding of lithographic principles and printing processes. Class demonstrations and critiques are supported by consideration and discussion of contemporary and historic examples and a visit to the Art Institute of Chicago¿s print study room	Class Number 1543	Credits 3	Department Printmedia Location 280 Building Rm 221
Arabic I	2003 (001)	Wael Fawzy	Tues 6:45 PM - 9:30 PM In Person
Description Arabic I ???? is a fully integrated introductory course for students with no background in the language. The course is designed for beginning students whose learning objectives and needs are in any of the following categories: continued language study, business purposes, or travel. Students will learn to speak and understand Modern Standard Arabic (MSA) and read and write Arabic script. Students will develop speaking and listening skills through audiovisual media, interactive fun activities, and paired dialogue practices. There will be a strong emphasis on oral proficiency needed to provide the necessary framework to communicate clearly and effectively. These objectives will be achieved through the following approaches: speaking, listening, reading, writing, and cultural studies. Prerequisites Prerequisite: First Year English requirement.	Class Number 1504	Credits 3	Department Liberal Arts Location Lakeview - 1427
Slow Photo	2003 (001)	Monika Niwelinska	Fri 9:00 AM - 3:00 PM In Person
Description This course invites students with a foundational knowledge of photography to expand their image-making practices through hands-on, experimental techniques. Exploring cyanotype, van dyke brown, collage, reproduction, and transfer methods, students gain a working understanding of graphic arts and print films. The course encourages curiosity, independent research, and creative risk-taking, with opportunities to integrate text, installation, and performance. Emphasizing process and material exploration, Slow Photo fosters a deeper engagement with photography beyond the digital, embracing time-intensive approaches that challenge conventional image-making. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1524	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 206
Fashion Construction II	2003 (001)	Agnes Hamerlik	Mon 9:00 AM - 3:00 PM In Person
Description Fashion Construction II builds the fundamentals of construction through a unique combination of pattern drafting, draping on the form, and sewing techniques, expanding to principles of the torso block, shirt-, and dress variations, as well as adding more variance in finishes and closures. Students develop and construct design concepts and explore variations, first in muslin, then in fabric, and will complete 2 garments. Pre-req: FASH 2001 Prerequisites Student must have completed FASH 2001, 2022, or 2024	Class Number 1377	Credits 3	Department Fashion Design Location Sullivan Center 702
Color	2003 (002)	Herman Aguirre	Tues 9:00 AM - 3:00 PM In Person
Description This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice. In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work.	Class Number 1652	Credits 3	Department Painting and Drawing Area of Study Graphic Design, Illustration Location 280 Building Rm 308
Fashion Construction II	2003 (002)	Agnes Hamerlik	Mon 9:00 AM - 3:00 PM In Person
Description Fashion Construction II builds the fundamentals of construction through a unique combination of pattern drafting, draping on the form, and sewing techniques, expanding to principles of the torso block, shirt-, and dress variations, as well as adding more variance in finishes and closures. Students develop and construct design concepts and explore variations, first in muslin, then in fabric, and will complete 2 garments. Pre-req: FASH 2001 Prerequisites Student must have completed FASH 2001, 2022, or 2024	Class Number 1379	Credits 3	Department Fashion Design Location Sullivan Center 704
Fashion Construction II	2003 (004)	Kristin Mariani	Wed 9:00 AM - 3:00 PM In Person
Description Fashion Construction II builds the fundamentals of construction through a unique combination of pattern drafting, draping on the form, and sewing techniques, expanding to principles of the torso block, shirt-, and dress variations, as well as adding more variance in finishes and closures. Students develop and construct design concepts and explore variations, first in muslin, then in fabric, and will complete 2 garments. Pre-req: FASH 2001 Prerequisites Student must have completed FASH 2001, 2022, or 2024	Class Number 1380	Credits 3	Department Fashion Design Location Sullivan Center 702
Fashion Construction II	2003 (005)	Isaac Couch	Wed 9:00 AM - 3:00 PM In Person
Description Fashion Construction II builds the fundamentals of construction through a unique combination of pattern drafting, draping on the form, and sewing techniques, expanding to principles of the torso block, shirt-, and dress variations, as well as adding more variance in finishes and closures. Students develop and construct design concepts and explore variations, first in muslin, then in fabric, and will complete 2 garments. Pre-req: FASH 2001 Prerequisites Student must have completed FASH 2001, 2022, or 2024	Class Number 1381	Credits 3	Department Fashion Design Location Sullivan Center 704
Print for Fabric and Alternative Materials	2004 (001)	Jess Atieno Ounga	Thurs 9:00 AM - 3:00 PM In Person
Description This course demonstrates a wide range of screenprinting processes on fabric and alternative substrates, including textile inks, fiber reactive dyes, resist and discharge techniques, and heat transfers using foils and disperse dyes. Students will work with hand-drawn, computer-generated, and photographic images to explore screenprinting techniques and concepts such as monoprinting, multiples, color relationships, composition, and basic repeat patterns. Interdisciplinary and experimental approaches to the printed surface are encouraged as students develop their personal research and practice. The course is supplemented by lectures, readings, and visits to the AIC, artist studios, and galleries. Students present finished and in-progress work in individual and group critiques throughout the semester.	Class Number 1400	Credits 3	Department Fiber and Material Studies Location Sharp 905
The Inadequate Body	2004 (001)	Sungjae Lee	Tues 9:00 AM - 3:00 PM In Person
Description This course interrogates the theory and practice of body based performance by exploring innovative ways of creating with, and thinking about the untrained body. The ethos of the course is to encourage students to question the function and boundaries of the body in performance and everyday life. What happens when the body can't go on, but must go on? Through a series of intensive workshops and discussions, students will interrogate and redefine notions such as control, virtuosity, discipline, stamina and skill to establish the parameters of what a body is unable physically to do or signify, and how may this failure be used for other ends.	Class Number 2373	Credits 3	Department Performance Location 280 Building Rm 012
Beginning Relief Printing	2004 (001)	Anna Laure Kielman	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 2194	Credits 3	Department Printmedia Location 280 Building Rm 223
Form and Meaning	2004 (001)	Paige Taul	Tues 8:30 AM - 11:15 AM In Person
Description Form and Meaning is a rigorous investigation of the art of moving image editing and provides a historical and theoretical understanding of both classical film editing and newer modes and models of editing and perception. The course provides a working foundation and framework. A close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing cinematic works. In addition, we will look at examples and discuss how editing functions for the installation artist, and further, how the Internet, New Media, television and video art have made an impact on concepts surrounding editing. Weekly readings will expand on the work presented in class. Students should expect to research and write both a midterm and final papers as well as a few short responses to works presented in class. Form and Meaning is a theory-based seminar and is not designed to offer critique for works in progress. Prerequisites Prerequisite: FVNM 2000	Class Number 1416	Credits 3	Department Film, Video, New Media, and Animation Area of Study Public Space, Site, Landscape, Social Media and the Web Location MacLean 517
Fashion Design II	2004 (001)	Isaac Couch	Mon 9:00 AM - 3:00 PM In Person
Description Fashion Design II is the second part of a two-semester course building the skills and talents required to achieve creative fashion. Taken together with fashion construction II the class becomes a co-taught immersive laboratory. Here students combine design research, shape development, and creative explorations built on and with the foundations into conceptual garments that are fitted on models in both muslin and fabric. Co-req FASH2003; Pre-req FASH2001, FASH2002 Prerequisites Fashion Core I Pre-Req : FASH 2900 and FASH 2901	Class Number 1382	Credits 3	Department Fashion Design Location Sullivan Center 705
Form and Meaning	2004 (002)	Daniele Wilmouth	Tues 3:30 PM - 6:15 PM In Person
Description Form and Meaning is a rigorous investigation of the art of moving image editing and provides a historical and theoretical understanding of both classical film editing and newer modes and models of editing and perception. The course provides a working foundation and framework. A close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing cinematic works. In addition, we will look at examples and discuss how editing functions for the installation artist, and further, how the Internet, New Media, television and video art have made an impact on concepts surrounding editing. Weekly readings will expand on the work presented in class. Students should expect to research and write both a midterm and final papers as well as a few short responses to works presented in class. Form and Meaning is a theory-based seminar and is not designed to offer critique for works in progress. Prerequisites Prerequisite: FVNM 2000	Class Number 1427	Credits 3	Department Film, Video, New Media, and Animation Area of Study Public Space, Site, Landscape, Social Media and the Web Location MacLean 1304
Fashion Design II	2004 (002)	Isaac Couch	Wed 9:00 AM - 3:00 PM In Person
Description Fashion Design II is the second part of a two-semester course building the skills and talents required to achieve creative fashion. Taken together with fashion construction II the class becomes a co-taught immersive laboratory. Here students combine design research, shape development, and creative explorations built on and with the foundations into conceptual garments that are fitted on models in both muslin and fabric. Co-req FASH2003; Pre-req FASH2001, FASH2002 Prerequisites Fashion Core I Pre-Req : FASH 2900 and FASH 2901	Class Number 1383	Credits 3	Department Fashion Design Location Sullivan Center 703
Fashion Design II	2004 (004)	Kristin Mariani	Mon 9:00 AM - 3:00 PM In Person
Description Fashion Design II is the second part of a two-semester course building the skills and talents required to achieve creative fashion. Taken together with fashion construction II the class becomes a co-taught immersive laboratory. Here students combine design research, shape development, and creative explorations built on and with the foundations into conceptual garments that are fitted on models in both muslin and fabric. Co-req FASH2003; Pre-req FASH2001, FASH2002 Prerequisites Fashion Core I Pre-Req : FASH 2900 and FASH 2901	Class Number 1385	Credits 3	Department Fashion Design Location Sullivan Center 703
Shape And Theory In Garments	2005 (001)	Bambi Deidre Breakstone	Tues 9:00 AM - 3:00 PM In Person
Description Explorations in the design of 'experimental' garments using the basic elements of mass, volume, form and motion. Rather than concerning themselves with current design trends or regular fashion problems, students emphasize bodies as forms in motion or as moving sculpture.	Class Number 1371	Credits 3	Department Fashion Design Area of Study Costume Design, Community & Social Engagement Location Sullivan Center 727
Stitch	2005 (001)	Christian Ortiz	Mon 9:00 AM - 3:00 PM In Person
Description This course explores stitching as a means of altering the surface of textiles and other pliable materials, examining its role across functional, decorative, and contemporary arts practices. Students will develop skills in traditional and non-traditional hand manipulation, machine sewing, and digital embroidery, including the use of design software for embroidery machines. Quilting, piecework, and appliqué are taught through both hand methods and work created on home sewing and Tin Lizzie machines. Technical skills are taught within the context of fiber, craft, and fine art discourse, encouraging students to develop work driven by their own formal, material, and conceptual concerns. Lectures and assigned readings broaden this foundation, situating course content within the history and contemporary landscape of the field. Students present finished and in-progress work in individual and group critiques throughout the semester.	Class Number 1396	Credits 3	Department Fiber and Material Studies Area of Study Costume Design Location Sharp 1014
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 1544	Credits 3	Department Printmedia Location 280 Building Rm 222
French I	2005 (001)	Elizabeth Chalier-Visuvalingam	Tues 12:15 PM - 3:00 PM In Person
Description An introductory course in reading, writing and conversational French. Prerequisites Prerequisite: First Year English requirement.	Class Number 1501	Credits 3	Department Liberal Arts Location Lakeview - 1427
Sonics and Optics	2005 (001)	Kioto Aoki	Mon 9:00 AM - 3:00 PM In Person
Description Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work. In-class screenings of films and videos and weekly readings will expand on the technical workshops at the core of the course. Students should expect to complete a series of quick technical exercises as well as a more in depth final project. Prerequisites Prerequisite: FVNM 2000	Class Number 1417	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Game Design Location MacLean 1304
Throwing: Multilevel	2005 (001)	Javier Jasso	Tues 3:30 PM - 9:15 PM In Person
Description This multilevel class is for students with or without experience in wheel throwing. Beginning students are introduced to ideas, materials and techniques for throwing vessels. They acquire the necessary skills to construct and analyze a wide range of vessel forms. Intermediate and advanced students continue their individual development of throwing, glazing and firing kilns. Course discussions focus on issues around the vessel to acquire critical understanding of containers and their functions, as well as using the wheel as a means for constructing sculptural forms.	Class Number 1173	Credits 3	Department Ceramics Location 280 Building Rm M153
Sketching for Designed Objects	2005 (002)	Hector Silva	Mon 9:00 AM - 3:00 PM In Person
Description Sketching is one of a designer's most crucial skills, integral to both generating focused ideas and presenting them across commercial, responsible, and experimental design. This course develops students' freehand sketching to communicate a design's form and function. An introductory course in Designed Objects, it welcomes students of all levels and has no prerequisites. Each skill is taught in class and refined in one-on-one sessions. Students practice thumbnail sketching, shading, and form development, building from lines, ellipses, and cubes into more complex forms. Methods include 'Form, Divide, Beautify' and concept pages. The course also covers orthographic projection for precise technical drawings, two-point perspective for objects in space, and digital sketching on the iPad. Students focus on objects and how they are made, working through a progression of design problems, from form families to multi-part exploded assemblies and objects in use. They study how materials such as soft goods, glass, concrete, and wood read on the page and are introduced to design-for-manufacture concepts. The course also includes a visiting designer who shares their approach and a field trip to an industrial design studio.	Class Number 1273	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1255
Sonics and Optics	2005 (002)	Daniele Wilmouth	Fri 9:00 AM - 3:00 PM In Person
Description Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work. In-class screenings of films and videos and weekly readings will expand on the technical workshops at the core of the course. Students should expect to complete a series of quick technical exercises as well as a more in depth final project. Prerequisites Prerequisite: FVNM 2000	Class Number 1432	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Game Design Location MacLean 1304
Accessory Design	2006 (001)	Tommy 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 1356	Credits 3	Department Fashion Design Area of Study Product Design Location Sullivan Center 727
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 2220	Credits 3	Department Fashion Design Area of Study Costume Design, Illustration Location Sullivan Center 734
The Human Figure in 3D	2007 (001)	Mark N. Stafford	Mon 9:00 AM - 3:00 PM In Person
Description A study of human anatomy for artists and representational figurative sculpting in clay, covering important and widely transferable formal principles and technical methods. In addition to traditional on-armature and handbuilding techniques, interested students will have access to ZBrush and may use it to produce maquettes and custom armatures through 3d printing and laser cutting. Qualified students may also have access to the Potterbot ceramic 3D printer for experimental use. Readings, guides, and other reference materials will include excerpts from: Edouard Lanteri?s Modelling and Sculpting the Human Figure, Stephen Rogers Peck?s Atlas of Human Anatomy for the Artist, and Uldis Zarins? Anatomy for Sculptors: Understanding the Human Figure. The course will be divided into three sections, the first two of which will involve the study of anatomy and sculptural technique. We will start with the bust (portraiture is optional), then move to the figure with scale studies of the torso, arms, and legs. Finally, students will have the opportunity to pursue a figurative project of their own design. Options for this project may include, but are not limited to: life-size or larger figures built in parts, figure groupings, formal and/or expressive figurative stylizations, and experimentation with the Potterbot ceramic 3D printer.	Class Number 1180	Credits 3	Department Ceramics Area of Study Gender and Sexuality, Class, Race, Ethnicity Location 280 Building Rm M152
Beginning Fashion Illustration	2007 (002)	Dijana Granov	Thurs 9:00 AM - 3:00 PM In Person
Description This course develops drawing skills with an emphasis on figure gesture and proportion along with a wide range of media. Students are taught to sketch from a live model while communicating design concepts in clothing with style and expression.	Class Number 1364	Credits 3	Department Fashion Design Area of Study Costume Design, Illustration Location Sullivan Center 734
Chinese I	2008 (001)	Marie Meiying Jiang	Tues 6:45 PM - 9:30 PM All Online
Description Chinese I is designed for beginners who take Chinese as a foreign language. Students who speak Chinese as their native language are not allowed to attend this course. Students who have taken Chinese study in the past are required to take the evaluation test and gain approval of the instructor to enroll. Students will study the Chinese Mandarin sound system PIN YIN, the basic strokes from the Chinese Calligraphy, Chinese numbers, common Chinese Radicals and Lessons 1-5 of <> (Level 1 Part 1). Students can speak and write systematically more than 150 essential vocabulary words, master the key grammatical structures, build the real-life communicative skills. They will also write and tell a story about themselves and their interests on Chinese paper utilizing 150 characters. Prerequisites Prerequisite: First Year English requirement.	Class Number 1502	Credits 3	Department Liberal Arts Location Online
Mold Making and Casting: Materials and Processes	2008 (001)	Jeffrey Prokash	Mon 9:00 AM - 3:00 PM In Person
Description This course builds upon the fundamentals of mold making and casting as a means to replicate, transcribe, and gather material information from the world we inhabit. You will be introduced to a broad range of mold making and casting materials and processes, including multi-part plaster molds and plaster casting, silicone and latex rubbers for molding and casting, ceramic shell and lost wax, alginate and life casting, 3D printed molds, slip casting, plastics, and various organic materials. We will use these materials and processes to investigate and record the surfaces and volumes of objects, bodies, sites, and environments, and translate them into sculptural form. Drawing from a rich history of mold making and casting practices, we will consider how traditional processes, time-tested conventions, and innovative experimentation can inform contemporary sculptural practice while facilitating the production of new work. Through hands-on experimentation, we will examine how mold making can generate meaning, reveal information, and open new possibilities for sculptural inquiry.	Class Number 1709	Credits 3	Department Sculpture Location 280 Building Rm 030
German I	2009 (001)	Kimberly Kenny	Thurs 12:15 PM - 3:00 PM In Person
Description An introductory course in reading, writing, and conversational German. Prerequisites Prerequisite: First Year English requirement.	Class Number 1500	Credits 3	Department Liberal Arts Location Lakeview - 1427
Production Design for Theater and Film	2010 (001)	James Paul	Fri 9:00 AM - 3:00 PM In Person
Description Production design for stage and screen is explored, emphasizing the collaborative world of theater and film. Students communicate with playwrights, scriptwriters, producers, and directors to understand their role as artists and designers. From 'no-budget to big-budget' productions, students explore the highs and lows of real world design through various projects. Student design teams create costumes, sets and props to understand the coordination of efficient and supportive group dynamics. Particular connections the off-Loop theater movement and the indie film scene.	Class Number 1358	Credits 3	Department Fashion Design Area of Study Furniture Design Location Sullivan Center 723
Watercolor	2010 (001)	George Liebert	Fri 9:00 AM - 3:00 PM In Person
Description This course explores the materials and methods used in watercolor painting. Included are dry and wet paper techniques, resist processes, and experimental techniques.	Class Number 1594	Credits 3	Department Painting and Drawing Location 280 Building Rm 308
Mechanisms, Movement & Meaning	2010 (001)	Dan Miller	Tues 9:00 AM - 3:00 PM In Person
Description Consider how object based movement creates both meaning and tone, and how movement functions much like non-verbal communication. We'll attempt to approach the technical matters of controlling motion from the aesthetic perspective of an animator or a dancer. The course introduces basic techniques for creating moving parts appropriate for a broad range of creative and material practices. Technical matters covered through exercises include motors, speed control, fabrication of moving parts and simple circuits for motor control. Self-determined projects will demonstrate mastery of skills and concepts.	Class Number 1103	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location MacLean B1-07
What's Worth Preserving?	2010 (001)	Jonathan Solomon	Tues 8:30 AM - 11:15 AM In Person
Description Architectural preservation, art conservation, archiving and collecting, even environmental protection: all these practices share a desire to preserve things of value, but how do we decide what's valuable? Using the laws, policies, and practices of architectural preservation as a starting point this studio will ask and propose answers to the question: what's worth preserving? Students will explore how preservation practice overlaps and complements the work of different museums, archives, and collections that define value and how they protect it; and propose strategies for assembling and maintaining their own collections in whatever media they choose. Course readings will focus on the history and contemporary practice of preservation, conservation, and collecting; and visits to preservation organizations in the city of Chicago will introduce students to a range of current preservation projects. Course work will include weekly readings, discussions, field trips and tours. Students will work individually throughout the course to research how different institutions assemble and protect their collections, identify a subject of personal interest for preservation, and propose a preservation strategy for it in any medium of their choice.	Class Number 1026	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Art/Design and Politics, Community & Social Engagement, Public Space, Site, Landscape Location Sullivan Center 1226
Spanish II	2010 (001)	Sabra Duarte	Thurs 3:30 PM - 6:15 PM In Person
Description This is a continuing course in reading, writing, and speaking Spanish. Prerequisite: LANGUAGE 2001 Spanish I. Prerequisites Prerequisite: LANGUAGE 2001.	Class Number 1506	Credits 3	Department Liberal Arts Location Lakeview - 1427
Color	2010 (001)	Cecil McDonald, Jr.	Mon 9:00 AM - 3:00 PM In Person
Description This course explores the intricate concepts and practices of color photography, integrating perception, science, and cultural significance. Students refine their ability to see and interpret color through hands-on projects, peer critique, and historical and theoretical discussions. Technical instruction includes image capture, color correction, light quality, printing across various scales and media, and presentation strategies. Through these explorations, students deepen their understanding of color¿s role in shaping meaning and photographic expression. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1520	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 216
Creative Process as Art Therapy	2010 (001)		Tues 8:30 AM - 11:15 AM In Person
Description This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.	Class Number 1094	Credits 3	Department Art Therapy Area of Study Community & Social Engagement Location Sharp 403
Creative Process as Art Therapy	2010 (002)	Suellen Semekoski	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 1095	Credits 3	Department Art Therapy Area of Study Community & Social Engagement Location Sharp 404
Black and White	2011 (001)	Oliver Sann	Thurs 9:00 AM - 3:00 PM In Person
Description This course explores the techniques and aesthetics of black and white photography, from exposure to final prints. Students will develop skills in analog darkroom and inkjet printing, contrast control, lighting techniques, and the impact of scale, paper, and film choices. Hands-on projects and darkroom experimentation will deepen technical abilities and creative expression. An adjustable film camera is required. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1521	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 216
Beginning Typography	2011 (001)	Mary Krysinski	Mon 9:00 AM - 3:00 PM In Person
Description This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012.	Class Number 1779	Credits 3	Department Visual Communication Design Area of Study Books and Publishing, Digital Communication, Graphic Design Location Sharp 1117
Digital Methods for Ceramic Production	2011 (001)	Mark N. Stafford	Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description A survey of digital design, prototyping, and production methods, this course will familiarize students with the many ways artists and designers use digital technologies to facilitate traditional ceramic practices. Students will be introduced to basic CAD and modeling techniques using Rhino, Grasshopper, Blender, and ZBrush, and to both direct and indirect ceramic production methods using the PotterBot ceramic 3-D printer, AOC 3D scanners, and CDFS laser cutters & 3D printers. The emphasis is not on mastery of any particular program or process, but on introducing students to a wide range of techniques and concepts that they may fruitfully pursue in future work. In addition, students will gain familiarity with the contemporary field of digital production, including current design and manufacturing technologies and the technical, formal, and conceptual uses to which they are put. Artists covered include Matthew Angelo Harrison, Jenny Sabin, Geoffrey Mann, Michael Eden, and Anya Gallaccio. The course will be divided into three sections and will include four preliminary exercises and two projects. The first project focuses on direct digital production and will illustrate the mechanical and operational use of the Potterbot ceramic 3D printer. The second project will transition from direct to indirect production methods, from the acquisition of digital methods to their application, and on the incorporation of digital methods into students? established or developing practice.	Class Number 1172	Credits 3	Department Ceramics Area of Study Digital Imaging Location 280 Building Rm M152, 280 Building Rm 127A
Black and White	2011 (002)	Robert Clarke-Davis	Wed 9:00 AM - 3:00 PM In Person
Description This course explores the techniques and aesthetics of black and white photography, from exposure to final prints. Students will develop skills in analog darkroom and inkjet printing, contrast control, lighting techniques, and the impact of scale, paper, and film choices. Hands-on projects and darkroom experimentation will deepen technical abilities and creative expression. An adjustable film camera is required. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1522	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 216
Beginning Typography	2011 (003)	Martha Chiplis	Thurs 9:00 AM - 3:00 PM In Person
Description This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012.	Class Number 1780	Credits 3	Department Visual Communication Design Area of Study Books and Publishing, Digital Communication, Graphic Design Location Sharp 1117
Beginning Typography	2011 (004)	Jiwon Son	Fri 9:00 AM - 3:00 PM In Person
Description This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012.	Class Number 1806	Credits 3	Department Visual Communication Design Area of Study Books and Publishing, Digital Communication, Graphic Design Location Sharp 1117
Objects/Artifacts and No Nonsense	2012 (001)	Benjamin Larose	Thurs 9:00 AM - 3:00 PM In Person
Description This course cultivates a conceptual and interdisciplinary approach to fashion. Through experimentations in object-making, students will engage with traditional and non-traditional materials and processes to question how objects can engage the body. Emphasis will be placed on function through the exploration of constructive processes and placement to body and space. The course is divided in four topical sections: technique meets body, power in wearability, conceptual artifacts and material matters. Students will be introduced to artists who's work is generally associated with other disciplines but engages fashion, body and garment. For example, artists such as Leigh Bowery, Rebecca Belmore, Brian Jungen, Isa Genzken, and the readings/screenings will vary but may include Susan Sontag's Notes on Camp, Malcolm Gladwell's The Cool Hunt or Robert Friedel's Zipper: An Exploration in Novelty. Course work involves four major projects, one for each topical section, as well as in-class discussions, reading responses and presentations. The occasional field trip and follow up in-class discussion can also be included.	Class Number 1373	Credits 3	Department Fashion Design Location Sullivan Center 723
Type Technologies Lab	2012 (001)	Kimberly Karen Viviano	Tues 3:30 PM - 4:45 PM In Person
Description This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies. Prerequisites Corequisite: VISCOM 2011 or VISCOM 1102.	Class Number 1782	Credits 1.5	Department Visual Communication Design Area of Study Digital Imaging, Graphic Design Location Sharp 1115
Type Technologies Lab	2012 (003)	Kristin J Maksymiw	Thurs 3:30 PM - 4:45 PM In Person
Description This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies. Prerequisites Corequisite: VISCOM 2011 or VISCOM 1102.	Class Number 1784	Credits 1.5	Department Visual Communication Design Area of Study Digital Imaging, Graphic Design Location Sharp 1115
Type Technologies Lab	2012 (004)	Kristin J Maksymiw	Thurs 5:00 PM - 6:15 PM In Person
Description This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies. Prerequisites Corequisite: VISCOM 2011 or VISCOM 1102.	Class Number 1807	Credits 1.5	Department Visual Communication Design Area of Study Digital Imaging, Graphic Design Location Sharp 1115
3D Embellishment	2015 (001)	Eia Radosavljevic	Thurs 9:00 AM - 3:00 PM In Person
Description Embellishment methods such as ribbon manipulation, feather-work, fabric tooling, and embroidery are introduced as a springboard for individual experimentation in 3-dimensional surface manipulation. Techniques like fur/faux fur sewing, leather tooling, macrame, and tatting may also be introduced in support of conceptual and formal design choices. Students are encouraged to explore alternative methods and up-cycled, sustainable materials to transform or redefine their selected garments and accessories, or to create objects from 3-dimensional units.	Class Number 1359	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 727
Introduction to Experimental 3D	2015 (001)	Anneli Goeller	Mon 9:00 AM - 3:00 PM In Person
Description This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema. Prerequisites Prerequisite: FVNM 2000	Class Number 1426	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Social Media and the Web Location MacLean 519
Lighting Fundamentals	2015 (001)	Sonja Ruth Thomsen	Mon 9:00 AM - 3:00 PM In Person
Description Light is a powerful tool for creative control. In this course, students learn to observe, measure, and manipulate light to enhance their photographic work. Through hands-on practice, they explore the interplay of natural, ambient, and artificial light sources¿including on-camera and hand-held flash¿within existing conditions. By understanding metering and light mixing techniques, students gain the skills to shape mood, depth, and atmosphere in their images. This course provides a strong foundation in lighting, equipping students with practical techniques to elevate their work with confidence and precision. Prerequisites Prerequisite: PHOTO 1001.	Class Number 2136	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 206
Introduction to Experimental 3D	2015 (002)	Marlena Novak	Thurs 9:00 AM - 3:00 PM In Person
Description This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema. Prerequisites Prerequisite: FVNM 2000	Class Number 1435	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Social Media and the Web Location MacLean 519
Lighting Fundamentals	2015 (002)	Marzena Abrahamik	Tues 9:00 AM - 3:00 PM In Person
Description Light is a powerful tool for creative control. In this course, students learn to observe, measure, and manipulate light to enhance their photographic work. Through hands-on practice, they explore the interplay of natural, ambient, and artificial light sources¿including on-camera and hand-held flash¿within existing conditions. By understanding metering and light mixing techniques, students gain the skills to shape mood, depth, and atmosphere in their images. This course provides a strong foundation in lighting, equipping students with practical techniques to elevate their work with confidence and precision. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1530	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 206
Footwear Design	2016 (001)	James Robert Sommerfeldt	Tues 9:00 AM - 3:00 PM In Person
Description Various investigations are conducted regarding traditional and alternative shoe design and assembly. Assigned readings and discussions focus on history, materials, the designers, lifestyle, terminology and processes, and the involvement of feet and shoes in art. Emphasis is placed on interpreting the foot and shoe for visual presentations and experimenting with components for artistic and practical expression. Final critiques include presentations of one of half pairs of shoes and sandals, illustrations, weekly clipping files and a thematic selection of thematic original ideas. Group critiques are scheduled several times during the semester. Weekly slide lectures, field trips, guest lectures or demonstration enable students to develop their ideas in the studio with a focus on fit and originality.	Class Number 1360	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 723
Hand Knitwear Design	2018 (001)	Sharon Shoji	Mon 9:00 AM - 3:00 PM In Person
Description This course offers a straight forward instruction to the hand knit process. As an ancient process the techniques of hand knitting are explored through various methods concentrating on surface, pattern, construction, color and texture. Emphasis is placed on garment or a wearable knit object. Cultural and historical references are studied along with contemporary application to design. Demonstrations and discussions provide challenges to explore modern interpretation in traditional and non-traditional ways. Offered in the spring semester only.	Class Number 1361	Credits 3	Department Fashion Design Location Sullivan Center 701
Artists' Books	2018 (001)	Myungah Hyon 현명아	Tues 9:00 AM - 3:00 PM In Person
Description Artists' Books is a beginning/intermediate level course that focuses on the fundamental techniques of bookbinding so as to be able to design and produce one or an edition of artists' books and boxes. The class begins by learning a range of traditional binding techniques, discussing material choices, and learning about the history of artists' books. Later on breaking out of the box to take risks, explore concepts and unconventional materials will be strongly encouraged for individual projects. In addition, the intention of this class is to meld your own studio work and personal expression with the form of artists' books.	Class Number 1545	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 113
Artists' Books	2018 (002)	Frances Lightbound	Mon 9:00 AM - 3:00 PM In Person
Description Artists' Books is a beginning/intermediate level course that focuses on the fundamental techniques of bookbinding so as to be able to design and produce one or an edition of artists' books and boxes. The class begins by learning a range of traditional binding techniques, discussing material choices, and learning about the history of artists' books. Later on breaking out of the box to take risks, explore concepts and unconventional materials will be strongly encouraged for individual projects. In addition, the intention of this class is to meld your own studio work and personal expression with the form of artists' books.	Class Number 1548	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 113
Designing Interaction	2019 (001)	Tobey Albright	Tues 3:30 PM - 9:15 PM In Person
Description Nearly everything designers create demands interaction: reading screens, operating objects, navigating spaces, or interpreting responses over time. As interaction spans physical, digital, and spatial realms, communicating how experiences behave is a fundamental design skill. This course introduces methods to visualize interaction, from initial storyboards to tested proposals. Intended early in the Designed Objects sequence, this core skills studio has no prerequisites and requires no prior interface design or interactive prototyping experience. Students build storyboards, user journeys, and flow diagrams to map human movement through systems. Using Figma, they construct and animate low- and high-fidelity prototypes, applying principles of layout, typography, visual hierarchy, and motion. Prototypes undergo user testing and iterative refinement based on observation and feedback. Coursework introduces established interface patterns and UI kits to adapt and extend. Accessibility standards and ergonomic considerations integrate throughout the design process. AI tools assist iteration and alternative development, teaching students to evaluate outputs and apply design judgment. By course end, students complete one interactive experience from storyboard to working, user-tested prototype. They leave equipped to make interactions legible before construction, demonstrating, testing, and defending how designs behave beyond mere visual appearance.	Class Number 1277	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication Location Sullivan Center 1407
Redefining Edges: Zero Waste in Fashion	2020 (001)	Pamela Vanderlinde	Wed 9:00 AM - 3:00 PM In Person
Description This course explores an unconventional view of garment construction and design by framing the process through the parameter of zero waste. Patterns are created using techniques designed to mitigate or eliminate waste. Both traditional and nontraditional materials are used, as well as digital printing technology. All final projects are fitted on a model in both muslin and fabric. Prerequisites FASH 1010 Pre-req	Class Number 1378	Credits 3	Department Fashion Design Area of Study Sustainable Design Location Sullivan Center 706
Designed Objects Core Studio 1: Designing for Others	2020 (001)	Antonio Belton	Tues 9:00 AM - 3:00 PM In Person
Description Designed Objects Core Studio 1 introduces students to design as an intentional practice oriented toward people beyond themselves. The studio centers on the shift from self-directed making to designing with responsibility toward users, contexts, and real-world constraints. Work in this studio is primarily analog and hands-on. Students develop ideas through observation, sketching, physical mockups, and full-scale prototyping. The studio introduces a builder mindset, framing making and fabrication as ways of generating insight rather than simply executing ideas. Digital tools are introduced selectively to support thinking and making rather than to define the work. Students learn two-dimensional CAD workflows using vector tools to develop patterns, layouts, and templates for 3D mockups and prototypes, exploring form and proportion. Emphasis is placed on translating insight into form and testing ideas through iteration. Prototypes are used to ask questions, reveal assumptions, and gather feedback. Critique is introduced as a collaborative process focused on clarity of intent and use. By the end of the studio, students understand that design always addresses an ¿other,¿ and that building¿whether with cardboard, foam, or digital files¿is a primary way designers think, test, and learn. This studio is for students beginning their product design studies, including those new to design, fabrication, or digital tools. It is best taken early in the Designed Objects curriculum alongside core skills courses such as Sketching, Digital Modeling, and Designing Interaction.	Class Number 1268	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1407
Designed Objects Core Studio 1: Designing for Others	2020 (002)	Annalee Koehn	Thurs 9:00 AM - 3:00 PM In Person
Description Designed Objects Core Studio 1 introduces students to design as an intentional practice oriented toward people beyond themselves. The studio centers on the shift from self-directed making to designing with responsibility toward users, contexts, and real-world constraints. Work in this studio is primarily analog and hands-on. Students develop ideas through observation, sketching, physical mockups, and full-scale prototyping. The studio introduces a builder mindset, framing making and fabrication as ways of generating insight rather than simply executing ideas. Digital tools are introduced selectively to support thinking and making rather than to define the work. Students learn two-dimensional CAD workflows using vector tools to develop patterns, layouts, and templates for 3D mockups and prototypes, exploring form and proportion. Emphasis is placed on translating insight into form and testing ideas through iteration. Prototypes are used to ask questions, reveal assumptions, and gather feedback. Critique is introduced as a collaborative process focused on clarity of intent and use. By the end of the studio, students understand that design always addresses an ¿other,¿ and that building¿whether with cardboard, foam, or digital files¿is a primary way designers think, test, and learn. This studio is for students beginning their product design studies, including those new to design, fabrication, or digital tools. It is best taken early in the Designed Objects curriculum alongside core skills courses such as Sketching, Digital Modeling, and Designing Interaction.	Class Number 1276	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1240
History of Modern Sculpture	2021 (001)	Weronika Malek-Lubawski	Fri 12:15 PM - 3:00 PM In Person
Description What is sculpture, and what separates it from other media? How did modernity and modernism change the artists¿ understanding of sculpture and its relationship to the human body, scale, and space? This course will present an overview of modern sculpture, from Rodin¿s figurative work to Smithson¿s land art, concluding with discussions about the role of contemporary sculpture in society. We will examine how technological innovations, societal transformations, and the myths of modernism influenced the artists¿ approaches to the medium. The course will primarily focus on European and North American sculptors but will also explore their understanding of colonialism and globalization. The course will overview various examples of artworks by Auguste Rodin, Karl Ioganson, Naum Gabo, Kurt Schwitters (Merzbau), Alexander Calder, Henry Moore, Barbara Hepworth, Magdalena Abakanowicz, Richard Serra, Robert Smithson, and other representatives of late 19th-20th century sculpture. Secondary readings will include Rosalind Krauss¿ ¿Passages on Modern Sculpture,¿ selections of Megan Luke's and Maria Gough's monographs on Kurt Schwitters and Constructivism, as well as relevant academic articles. We will also discuss and contextualize primary texts and manifestos by Naum Gabo, Carola Giedion-Weckler, Katarzyna Kobro, Barbara Hepworth, and Johann Winckelmann (some read in their entirety, some as selections). Formal analysis of a selected sculpture ¿ 1000-1500 words Presentation ¿ 5-10 minutes Final essay comparing three sculptures and relating them to concepts from class ¿ 3000-4000 words Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1085	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 202
The Figure In Ceramics	2021 (001)	Mark N. Stafford	Thurs 9:00 AM - 3:00 PM In Person
Description Poetics of the figure. Shaping the boundaries between external reality and the inner self. Students explore and develop their interest in the figure, as character, poetics, fragment, representation, memory and narrative in their art practice. Historical and contemporary examples will be examined in lectures and discussions. The incorporation of found objects in the work as well as installation strategies will be encouraged. Demonstrations involving methods of construction, surface treatments and firing choices are available. Advanced students are invited to shape their own research.	Class Number 1184	Credits 3	Department Ceramics Location 280 Building Rm M152
Documentary Practices	2025 (001)	Jonas Becker	Mon 9:00 AM - 3:00 PM In Person
Description This course explores the power, ethics, and evolving role of documentary photography. Students will critically examine the medium's historical claims to truth and objectivity while confronting contemporary debates on identity, representation, and agency - who tells which stories, and how context shapes meaning? Readings from photography theory, sociology, and popular media provide diverse perspectives, fueling critical discussion. Through hands-on assignments and a culminating project, students will bridge theory and practice, refining their documentary approach while navigating the ethical and creative complexities of visual storytelling. Prerequisites Prerequisite: 3 credits of PHOTO 1000 level courses.	Class Number 2134	Credits 3	Department Photography Area of Study Theory Location 280 Building Rm 214
Interface Design Seminar	2028 (001)	George Guffey	Thurs 6:45 PM - 9:30 PM In Person
Description As products incorporate increasingly complex displays, functionality, and intelligence, their usability can become a challenge. This studio-seminar explores methods for designing intuitive and effective interfaces that enhance both the usability and overall experience of a device. Through presentations, discussions, and hands-on exercises, students will analyze existing interfaces and devices, identifying strengths and weaknesses in their design. The course emphasizes the integration of user interface (UI) and industrial design (ID) to create seamless, visually cohesive, and functionally intuitive products. Students will engage in critical evaluation of real-world examples and apply digital media tools to prototype the interface and interaction components of their own design projects. Key topics include understanding user behavior, mapping device functionality, designing appropriate two-way communication, and developing graphic elements that support usability. By the end of the course, students will have a deeper understanding of interface design as a critical factor in product development, enabling them to craft more user-centered, visually compelling, and engaging product experiences. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1285	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Product Design Location Sullivan Center 1227
Figure Drawing: Multi-Level	2030 (001)	Anne Harris	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 1595	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 124
Designed Objects Core Studio 2: Material, Form, and Interaction	2030 (001)	Eric Allan Hotchkiss	Fri 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. Prerequisites Pre: DES OB 1006 or 2020	Class Number 1269	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1226
Figure Drawing: Multi-Level	2030 (002)	Don Southard	Tues 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1596	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 315
Figure Drawing: Multi-Level	2030 (003)	Matias Brimmer	Tues 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1597	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 320
Figure Drawing: Multi-Level	2030 (005)	Larissa Setareh Borteh	Wed 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1599	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 315
Figure Drawing: Multi-Level	2030 (006)	George Liebert	Thurs 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1600	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 124
Figure Drawing: Multi-Level	2030 (007)	Erin Washington	Thurs 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1601	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 320
Figure Drawing: Multi-Level	2030 (008)	Mary Griffin	Thurs 3:30 PM - 9:15 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1602	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 124
Figure Drawing: Multi-Level	2030 (009)	Dylan Rabe	Thurs 3:30 PM - 9:15 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1603	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 315
Figure Drawing: Multi-Level	2030 (010)	MJ Lounsberry	Wed 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1604	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 124
Figure Drawing: Large Format	2030 (011)	Amanda Joy Calobrisi	Fri 9:00 AM - 3:00 PM In Person
Description Are you curious about creating figure drawings life size or larger? This multi-level studio will introduce you to the exciting challenge of drawing the human form from observation on large supports while learning about drawing techniques spanning the pre-modern era into the present day. Students working with figurative subjects will be able to experiment with scale changes on 3? x 6? paper. Students who want to work even larger are encouraged. Formal points of departure are presented clearly through daily morning lectures and demonstrations, using a full array of examples from art history, contemporary art as well as frequent museum visits. The class exercises begin with quick monochromatic sketches and progress to full color extended studies. There is one final project assignment. The majority of the required work is completed during class time. The large format allows students of all abilities to make significant improvements quickly.	Class Number 1663	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 315
Print Installation, Multiples, and Image Structure	2031 (001)	Jasper Goodrich	Fri 9:00 AM - 3:00 PM In Person
Description Instead of art making that leads to one image or object, often contemporary artists arrange groups of images to create large scale installations. The viewer¿s body must navigate through the installation of images to experience the work. In this class, students will investigate the use of printed multiples and repetition, serial and iterative methods, a variety of layering techniques, collaboration, and print¿s social potential through image dissemination and public display. Students will learn how to think and make in groups of images, with a focus on both exhibition based and site-specific print installations. Students will be exposed to a wide variety of multi-disciplinary artists working within print installation or influenced by printmaking structures including Hanne Darboven, Jennifer Bartlett, Geta Br¿tescu, William Pope.L, Christo and Jeanne-Claude, Jenny Holzer, Wade Guyton, Charline von Heyl, Fischli and Weiss, Dieter Roth, Es Devlin, Kara Walker, Ed Ruscha, Allen Ruppersberg, Sarah Charlesworth, Jitish Kallat, Vija Celmins, Raymond Pettibon, James Turrell, Martin Puryear, Daniel Garcia Andujar, and Felix Gonzales Torres. Additionally, because time becomes a major factor when viewing print installations in space, this class will also explore temporal disciplines including video art, fashion, dance, and music. Students will learn printmaking processes including relief printing, monotypes, digital process, and transfer techniques. The class will culminate in a final project where each student will make a personal print installation using the multiples they created. Elements of this installation will be completed in real space, in addition to a mock print installation displayed through architectural drawings and prints, 3D modeling computer programs (using the Adobe Suite and Google Sketch Up), and scaled sculptural models.	Class Number 2199	Credits 3	Department Printmedia Area of Study Digital Imaging, Exhibition and Curatorial Studies, Public Space, Site, Landscape Location 280 Building Rm 203
Fig Draw:Adv:Anatomical Ecorche	2031 (001)	Melinda Whitmore	Tues 9:00 AM - 3:00 PM In Person
Description Ecorche (ay-kor-shay) is a French word meanining 'flayed' or 'skinned', but to figurative artists it also refers to any representation of the figure that describes what lies under the skin. In this course, we will be exploring anatomy through the production of a three-dimensional ecorche - where students will use additive and subtractive sculptural practices to create a 1/3 life-sized sculpture representing half skeletal structure and half musculature form. Lectures and materials will focus on specific areas of the body. Prerequisites Prerequisite: PTDW 2030.	Class Number 1641	Credits 3	Department Painting and Drawing Location 280 Building Rm 124
Fig Draw:Adv:Body & Language	2031 (002)	Karen Azarnia	Fri 9:00 AM - 3:00 PM In Person
Description We speak through our bodies, and learn to read other's even before we use words. The figure runs through every culture's art. Even when we work purely abstractly, the figure lurks at the edges and dictates nearly every reference point. This studio aims to teach students how the body communicates, and facilitate its effective use in their work. Primarily a studio course, we will use images from art history, contemporary art, graphic novels, films and photography, as well as written material, as jumping-off points for long drawings in a variety of media. We will also go on a series of field trips to discuss how to read body language, and discuss its evolution through animal communication to the nuances of human interchange. This is an advanced studio. Prerequisites Prerequisite: PTDW 2030.	Class Number 1642	Credits 3	Department Painting and Drawing Location 280 Building Rm 124
Costume Design in Film and TV	2032 (001)	Bambi Deidre Breakstone	Fri 9:00 AM - 3:00 PM In Person
Description In this workshop students develop a practical understanding of the procedures used by costume designers and their assistants and crew in film and television production. Weekly lectures and hands-on demonstrations focus on projects including breaking down a script based on character and scene, doing research towards developing characters through costume choices, and techniques used to present those choices to the director and producer. Students break down a script from a show in current production. Final critiques include presentation of the breakdown with clip file photos and drawings of their costume choices for the entire script.	Class Number 1387	Credits 3	Department Fashion Design Area of Study Costume Design, Playwriting/Screenwriting Location Lakeview - 205
Top: Clay and Culture	2035 (001)	Emily Schroeder Willis	Wed 9:00 AM - 3:00 PM In Person
Description This course examines a variety of cultures (African, North, Central and South American, European, Asian) through the lens of their ceramic histories. Students will develop vessels based on a response to this cultural information. Each projects will be rooted in a discussion and a tour with a different curator at AIC. Topics addressed will be: gender and sexuality, domestic and ritual vessels, architecture and environment, politics and culture and class and industry.	Class Number 1174	Credits 3	Department Ceramics Location 280 Building Rm M153
Wksp:Scenecraft	2040 (001)	Richard O'Reilly	Fri 12:15 PM - 3:00 PM In Person
Description Scenecraft: The Art of Hearing Voices Any prose benefits from sharpening the tools most often associated with playwriting: monologue, dialogue, and silence. Whether the example is the compelling presence of the monologue in the radio work of NPR's Ira Glass and David Sedaris, the sharp stylized dialogue in the films of Mike Leigh, the comic outrageousness and vulgarity of Sarah Silverman, the naturalistic street smart sweep of David Simon's The Wire, or the wry poignant humor in the stories of Lorrie Moore, modern prose leans heavily on theatrical lessons of how people speak to each other and to themselves. The class will include looking at these examples as a bridge to generative writing. Using gossip, dreams, photographs, listening to voices reading aloud, writing in the room, and working collaboratively, interdisciplinary experiments will be undertaken to create different modes of dialogue and monologue. Working with actors and performing, the class will make writing that steps off the page and into the mouths of real and imagined people. This workshop welcomes makers from performance, sound, design, or any other forms.	Class Number 1818	Credits 3	Department Writing Location Lakeview - 808
Studio Drawing:Fail Better	2040 (001)	Erin Washington	Mon 9:00 AM - 3:00 PM In Person
Description Studio Drawing: Fail Better is an exploration of time-based and ephemeral strategies as they relate to elements of drawing. Much like Baldessari's disowning of his early work, students will be encouraged to let go of practiced methods, using destruction as a form of creation. Doubt will be embraced, experimentation encouraged, and risk considered a viable game-plan. Employing strategies such as collage, archives, and documentation, we will explore how to rebuild your portfolio after you?ve let it go. Rebuilding strategies will range from accumulative, time-based methods such as the work of William Kentridge to the chaotic secretions of Dieter Roth. There will be studio problems and exercises, sketchbook assignments, and slide presentations with a focus on individual projects.	Class Number 1605	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Wksp:Monsters and Ghosts	2040 (002)	Matthew Goulish	Wed 8:30 AM - 11:15 AM In Person
Description To understand the human, study the monster. To understand the living, study the ghost. This class examines monsters as warnings or omens regarding the future, and ghosts as repetitions of past events. Through various approaches to creative writing, we examine categories of monster, including the living animated from the non-living (the Golem of Prague), creatures that combine parts of recognizable animals (the Minotaur), and differing conceptions of time that ghosts manifest. We draw non-human case studies from Greek mythology, Gothic literature, and contemporary neurological and cybernetic anxieties. Readings may include Ovid?s Metamorphosis, Goblin Market by Christina Rossetti, The Beggarwoman of Locarno by Heinrich von Kleist, Frankenstein by Mary Shelley, The Turn of the Screw and The Jolly Corner by Henry James, A Werewolf Problem in Central Europe by Victor Pelevin, and A Haunted House by Virginia Woolf. Students present their own writing in the form of creative responses to the lectures and the course readings.	Class Number 1822	Credits 3	Department Writing Location Lakeview - 808
Studio Drawing:Collage	2040 (002)	MaryLou Zelazny	Tues 9:00 AM - 3:00 PM In Person
Description This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.	Class Number 1606	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Std Draw:Representn/Abstractn	2040 (004)	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 1608	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (005)	Janice Yang	Wed 9:00 AM - 3:00 PM In Person
Description This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.	Class Number 1609	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Studio Draw: Visual Archives and Artists¿ Collecti	2040 (006)	Kaylee Rae Wyant	Wed 9:00 AM - 3:00 PM In Person
Description This course invites students to become collectors. Looking at the personal collections of artists like Georgia O¿Keeffe, Ray Yoshida, Christina Ramberg, and Roger Brown, students will learn how to use the act of collecting as a tool for invention in their studio practices. With class excursions to flea markets, museums, and nature trails, students will have multiple opportunities to gather and document a range of visual ephemera. Course activities will center on the development of visual archives, including developing strategies for collecting, documenting, organizing, and displaying material. Students will keep a sketchbook/journal with writings and drawings of collected material. Weekly drawing exercises will help synthesize their observations to develop a unique visual vocabulary. By asking students to, as Barbara Rossi put it, ¿notice themselves noticing the world,¿ collecting becomes a strategy for self-reflection as well as a means for developing thoughtful connections to the material world around them.	Class Number 1610	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (007)	Matt Morris	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 1611	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (008)	Noah Rorem	Thurs 9:00 AM - 3:00 PM In Person
Description This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.	Class Number 1612	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (009)	Rebecca Walz	Thurs 3:30 PM - 9:15 PM In Person
Description This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.	Class Number 1613	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Studio Drawing: Multi-Level	2040 (010)	David R. Harper	Fri 9:00 AM - 3:00 PM In Person
Description An Introduction to drawing as an organizer of thought, feelings and image making. Students investigate a broad range of materials and traditions. 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 Studio Drawing Multi-Level B classes.	Class Number 1614	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Std Draw:Large Format	2040 (011)	Steven Husby	Fri 9:00 AM - 3:00 PM In Person
Description How big is big? Does the size of a drawing alter our ideas of what we?re about while we?re producing it? How do relationships of internal scale alter our sense of the surrounding space, and how do the sizes of the materials and the support alter our own awareness of scale? In this course we will explore the potential for large format drawing in the perceptual, material, narrative and conceptual senses. We will work towards expanding notions of Large, Format, Studio and Drawing. We will work towards specificity and developing each student's individual concerns. Bring your ambition, you'll need it. Most time in class will be spent working on studio projects, which will be supplemented by museum visits, slide lectures, student led reading discussions and presentations, and in depth critique. Readings and artists looked at will vary, but will typically include texts which attempt a broad overview of the state of drawing within the field of contemporary art like Vitamin D2 and Drawing Now: Eight Propositions, and include contemporary artists working with drawing at ambitious scale such as Toba Khedoori, Amy Sillman, and William Kentridge, and more historical examples like Willem de Kooning, Cy Twombly, Lee Krasner, and Jasper Johns. There will be a long form mid-term critique and a shorter final critique. Students will be expected to complete multiple large scale works for each.	Class Number 1672	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
French II	2050 (001)	Elizabeth Chalier-Visuvalingam	Thurs 12:15 PM - 3:00 PM In Person
Description This course is part two of a two-semester sequence. Its goal is to provide students without any knowledge of the French language a solid foundation in the basic patterns of written and spoken French and an understanding of the particular sociocultural norms necessary for everyday communication in France. These are achieved in several ways: (1) a careful study of French grammar, with a communicative approach, (2) a study of the basics of French phonetics, and (3) a variety of materials such as readings, movies, commercials, etc. French II is the sequel of French I. Prerequisite: French I or agreement of instructor. Prerequisites Prerequisite: LANGUAGE 2005.	Class Number 1499	Credits 3	Department Liberal Arts Location MacLean 501
Virtual Flat to Form - Digital Patternmaking	2060 (001)	Aubrie J. Meyer	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description This course introduces students to digital pattern-making for fashion. Students learn to use the CAD hardware and software, designing and modifying patterns virtually. This includes digitizing/converting hard patterns to digital files, modifying existing stock patterns, textile printing, 3-D visualization, and plotting sample patterns. Students receive a hands-on approach to developing virtual patterns through fabric testing, using body measurements, and assembling prototypes for final design approval. Other industry skills are developed, such as creating pattern cards, cutter's musts, grading, and marker making. Prerequisites FASH 2001/2014/2016/2020/2022/2024/2901	Class Number 1368	Credits 3	Department Fashion Design Area of Study Gender and Sexuality, Digital Imaging, Art and Science Location Sullivan Center 703, MacLean 917
Pattern Making for Sculpture	2074 (001)	David Sprecher	Wed 9:00 AM - 3:00 PM In Person
Description Patternmaking is at the heart of metalworking, woodworking, fashion, architecture and many other disciplines. Why? Because so many materials are available in sheet form. Students in this course will investigate a range of processes by which flat sheet materials like paper, wood, metal, fabric, vinyl, and plastic can be used to make volumetric, three-dimensional forms. Patternmaking for Sculpture will teach the student digital and analogue methods of designing, cutting, and assembling 3D work. Practical strategies as well as contemporary industrial use and the history of patternmaking will be explored to give each student a range of options for making their own work, whether it be art or design.	Class Number 1719	Credits 3	Department Sculpture Area of Study Product Design Location 280 Building Rm 127
Chinese II	2080 (001)	Marie Meiying Jiang	Thurs 6:45 PM - 9:30 PM All Online
Description Chinese II is designed for students who take Chinese as a foreign language and have passed the Chinese I course. For the students who have not taken the Chinese I course at SAIC, an evaluation test is required and students must gain the instructor's approval in writing to enroll in this course. Students who speak Chinese as their native language are not allowed to attend this course. Students will continue to learn the Lessons 6-10 of <> (Level 1 Part 1) to expand vocabulary words and key grammatical structures. The course will aim to expose students to more Chinese culture, help them with Chinese oral presentations and writing about school life, study, shopping, and transportation. Prerequisites Prerequisite: LANGUAGE 2008.	Class Number 1503	Credits 3	Department Liberal Arts Location Online
New Media: Crash Course	2100 (001)	Christopher Lee Collins	Mon 9:00 AM - 3:00 PM In Person
Description This introductory studio course focuses on screen-based new media works, their historical contexts, their specific aesthetics and theoretical concerns. Students gain an understanding of the emerging culture and historical antecedents of new media. Interactive, network and web based technologies are introduced from the perspective of media art making. Students will be exposed to relevant theoretical texts. Historical and contemporary new media works are screened, demonstrated and discussed. Through a series of workshops, assignments and a final project, students will gain a general understanding of how to read and write new media using various techniques such as HTML ++ CSS, JavaScript, Realtime systems, Generative systems, and Art Games. Prerequisites Prerequisite: FVNM 2000	Class Number 1418	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication, Social Media and the Web Location MacLean 807
Intro to Art and Technology: Art Engines	2101 (001)	Douglas Rosman, Lee Blalock	Thurs 9:00 AM - 3:00 PM In Person
Description This team-taught introductory studio provides a foundation for creative work across contemporary media practices. Students explore how systems, tools, and materials co-exist in an expansive ecosystem of technical possibility, to be mixed and used to create works that engage with technology as tool, medium, and terrain for playful exploration. Through hands-on workshop modules, individual projects and possibilities for collaboration, the course introduces approaches drawn from creative coding, electronics, 3D, games, and related media to create responsive, time-based, and interactive audiovisual works. Creative misuse, tinkering, hacking, probing and breaking are strongly encouraged. Students gain a broad interdisciplinary grounding in the skills, concepts, histories, and key areas of inquiry necessary for informed artistic engagement with technology. Weekly sessions combine technical instruction with conceptual framing, encouraging students to develop their own ideas while introducing the broader AT/SP curriculum, pathways, and areas of practice. No prior experience required.	Class Number 2368	Credits 3	Department Art & Technology / Sound Practices Area of Study Game Design, Art and Science Location MacLean 401
Intro to Art and Technology: Art Engines	2101 (001)	Douglas Rosman, Lee Blalock	Thurs 9:00 AM - 3:00 PM In Person
Description This team-taught introductory studio provides a foundation for creative work across contemporary media practices. Students explore how systems, tools, and materials co-exist in an expansive ecosystem of technical possibility, to be mixed and used to create works that engage with technology as tool, medium, and terrain for playful exploration. Through hands-on workshop modules, individual projects and possibilities for collaboration, the course introduces approaches drawn from creative coding, electronics, 3D, games, and related media to create responsive, time-based, and interactive audiovisual works. Creative misuse, tinkering, hacking, probing and breaking are strongly encouraged. Students gain a broad interdisciplinary grounding in the skills, concepts, histories, and key areas of inquiry necessary for informed artistic engagement with technology. Weekly sessions combine technical instruction with conceptual framing, encouraging students to develop their own ideas while introducing the broader AT/SP curriculum, pathways, and areas of practice. No prior experience required.	Class Number 2368	Credits 3	Department Art & Technology / Sound Practices Area of Study Game Design, Art and Science Location MacLean 401
Tools and Techniques of Architecture	2102 (001)	Stephanie Surjan	Tues 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.	Class Number 2277	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Architecture, Digital Communication, Digital Imaging, Illustration, Interior Architecture Location Online
Neon Techniques	2112 (001)	Gregory Mowery	Mon 9:00 AM - 3:00 PM In Person
Description Neon is a medium of light, color, and atmosphere-at once iconic in commercial signage and radical in contemporary art. This course introduces students to the history and practice of neon, from early experiments to its use by contemporary makers. In the Light Lab, students will learn essential methods of tube bending, wiring, and installation, while also exploring neon's significance as both a craft tradition and a contemporary artistic medium. We will look at how artists such as Bruce Nauman, Keith Sonnier, Joseph Kosuth, and Cerith Wyn Evans transformed neon into a language of sculpture, architecture, and experimental art. Readings on light, vision, and color theory will provide both scientific and conceptual grounding for studio practice. By the end of the semester, students will have created an original neon work that reflects their own creative vision.	Class Number 2248	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location MacLean B1-16
Why Ancient Art and Architecture Matter	2113 (001)	Joana Konova	Thurs 8:30 AM - 11:15 AM In Person
Description Ancient art and architecture often provides the backdrop for National politics and in many countries is the art which one first encounters outside of a museum. This course will introduce students to ancient art and architecture in a way that highlights its modern importance in terms of cultural heritage and the art making practices of modern artists. Readings will address the contemporary relevance of ancient art, the particularities of that artwork, and the way that ancient artwork and the modern art it inspires are a manifestation of cultural values both past and present. Students will be required to present readings to other students on a biweekly basis, take exams based on the artwork presented in lectures, and complete a research project. The research project involves the study of one repatriated artwork's provenience and provenance and the presentation of that research to the class Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1047	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 202
Foundry Basics	2113 (001)	Jonathan Lanier	Tues 9:00 AM - 3:00 PM In Person
Description This course introduces the aesthetic, technical, and historical aspects of the casting process as it relates to sculpture. Students learn basic skills in waxworking, investment applications, furnace and kiln operation, metal finishing and chasing, and patination. Lost wax and ceramic shell will be the primary techniques utilized for pattern generation and molding in this course. Students develop these skills through a series of studies that culminate in a final project.	Class Number 1707	Credits 3	Department Sculpture Location 280 Building Rm 030
Furniture 1: Chair Studio	2118 (001)	Erik Newman	Wed 9:00 AM - 3:00 PM In Person
Description This furniture studio will critically engage the chair as an archetype. Chairs have long been a fascination of designers as they require a developed understanding of structure, material, and form. Importantly, chairs represent the cultural mores of the time in which they are produced and are inextricably linked to larger systems of power, technology, and economy. This course will explore the chair as a fluid, dynamic furniture category that is in a reciprocal relationship with culture, technology, and politics and will emphasize a hands-on approach to design and production. Readings from art and design historians and critics including Galen Cranz, David Getsy, Richard Sennett, Glenn Adamson, and Alice Rawsthorn will be integral to an expansive conversation about the chair. Class readings and discussions will also help contextualize different approaches to construction and fabrication at different scales of production. A wide range of both contemporary and historical design precedents will be explored ranging from traditional Shaker Furniture to Wendell Castle, Faye Toogood, Max Lamb, Egg Collective, Jasper Morrison, and Scott Burton. By the end of this course, students should expect to have completed technical drawings and a series of detailed scale models. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1272	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Furniture Design, Product Design Location Sullivan Center 1242
Digital Modeling: Rhino	2124 (001)	Gene Evans Munger	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. Modeling is approached as a way of thinking through form, proportion, and iteration within a broader production-focused design process. Students learn core Rhino workflows including curve construction, solid and basic surface modeling, transformations, and file preparation for visualization and fabrication. The course also introduces foundational digital workflows such as preparing models for 3D printing, creating 2D drawings for laser cutting, and producing rendered images in KeyShot to communicate design intent. Through a series of design projects, students use Rhino to explore object form, refine ideas through iteration, and translate digital models into physical and visual outputs. Emphasis is placed on clarity of form, thoughtful revision, and understanding how digital modeling supports the development and communication of design proposals. When and why to take this course: Students are encouraged to take this course as early as possible, ideally before or alongside Designed Objects Studio 2. Rhino is used throughout the curriculum and supports iterative form development in studio work. Rhino and SolidWorks are both primary 3D modeling tools used in professional design practice. Students are encouraged to take both courses over time; however, completing either Rhino or SolidWorks provides a strong foundation in digital formmaking. Skills developed in either platform translate across tools and support broader design workflows.	Class Number 1270	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Product Design Location Sullivan Center 1407
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.	Class Number 1271	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1226
History of Designed Objects	2128 (001)	Lara Allison	Thurs 12:15 PM - 3:00 PM In Person
Description The course examines the history of designed objects and their place in a variety of material contexts. Even within our increasingly digitalized existences today, physical objects continue to play a key role in determining our experiences as humans. Our objects are designed by us and at the same time design us by extending the possibilities of what it means to be human and exist in a world. The designed object will be considered under the conditions of global exchange, in relation to questions of health, disease, and the body, as well as urbanism. We will also reflect on the designed object through the lenses of craftsmanship, technology, materials, activism, identity, and cultural heritage. Course participants will read texts relevant to the theoretical and historical aspects of the designed object and its representations, contribute to weekly discussions, conduct object-based analyses, and engage in a series of team and individually written critical writing assignments. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1032	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 202
The Flowering of Medieval & Renaissance Dress	2141 (001)	Gillion Carrara	Thurs 8:30 AM - 11:15 AM In Person
Description Often fashion refers to history, as it will in this course. We will explore the culture of Europe within the Renaissance era and the fashions created in that time, including the various occasions when men in their uniforms and women in their gowns stepped out in velvets, satins, leather, beading, metalwork and embroideries. Turner Wilcox, Andre Castel, David Herlihy, Colin McEvedy, William McNeill, Rublack & Hayward, Anthony McIntyre READINGS: Excerpts from: Trucco e Bellezza nell' Antichita Rossana ed Cesaris; Fashion as a Cultural Intertext Michaela Malickova; Pandora in the Box Lydia Marie Taylor; For A Contemporary Vision of the Other History and Phenomenology of Fashion Alessia M. M. Giurdanella; Fashion in the Middle Ages Margaret Scott; Medieval Households David Herlihy; First Book of Fashion edited by U. Rublack and M. Hayward; Plagues and People William H. McNeill; Memoirs of Hadrian Marguerite Yourcenar; Arms and Armour Visual Books; Flowering of the Italian Renaissance Andre Chastel; Medieval Households David Herlihy; Penguin Atlas of Ancient History Colin McEvedy; Alla Mensa degli Antichi - the ceramics of the table - collezione Costantini Students should expect to create around 3 presentations and 3 written essays, a combination of written and visual. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1083	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Costume Design, Museum Studies Location Lakeview - 203
Animation I: Drawing for Animation	2420 (001)	James Trainor	Tues 9:00 AM - 3:00 PM In Person
Description This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.	Class Number 1419	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Illustration Location MacLean 717
Animation I: Drawing for Animation	2420 (002)	Matthew Marsden	Fri 9:00 AM - 3:00 PM In Person
Description This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.	Class Number 1420	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Illustration Location MacLean 717
Animation I: Drawing for Animation	2420 (003)	James Trainor	Thurs 9:00 AM - 3:00 PM In Person
Description This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.	Class Number 1444	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Illustration Location MacLean 717
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. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2374	Credits 3	Department Art History, Theory, and Criticism Location MacLean 301
Cinema Histories	2588 (001)	Anahita Ghazvinizadeh	Tues 6:00 PM - 9:00 PM In Person
Description Please see topic description for more information. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2098	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location Gene Siskel Film Center 203
History Of Performance	2610 (001)	Chris Reeves	Fri 8:30 AM - 11:15 AM In Person
Description This course surveys performance as art throughout the Modern and Postmodern periods?including contemporary and non-Western incarnations?and covers roughly the last one hundred fifty years. Areas of historical and theoretical focus include the philosophy of performance, ethnography, feminism, and the interface of performance with film, video, dance, sculpture, theater, technology, and popular culture. Movements like Futurism, Dada, and Fluxus are explored alongside themes like endurance, performance in everyday life, the culture wars and censorship, performance and AIDS, and postcolonial uses of performance. Key figures such as Carolee Schneemann and Marina Abramovic are analyzed through comparison of documentaries about their work. Any number of seminal performance pieces are screened, including ones by Yoko Ono, Linda Montano, Diamanda Galas, Guillermo Gomez-Pe?a & Coco Fusco, and Anna Deavere Smith. Further historical context comes from essays and movies about AIDS activism and Punk & New Wave. Readings include primary sources, artist interviews, C. Carr's reviews, and noted works in Performance Studies from Richard Schechner, Peggy Phelan, Amelia Jones, and others. Students will attend two performances and write reviews, an annotated bibliography assignment provides opportunity to explore historical and non-western performance topics, and there will be much discussion. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1044	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality Location Lakeview - 202
20th Century Photography	2622 (001)	Alice Maggie Hazard	Fri 12:15 PM - 3:00 PM In Person
Description In 1839 a new means of visual representation was announced to a startled world: photography. Although the medium was immediately and enthusiastically embraced by the public at large, photographers spent decades experimenting with techniques and debating the representational nature of this new invention. This course focuses on the more recent history of this revolutionary medium. From the technological advancements that characterized the rise of photography in the commercial world during the 20th century, and the acknowledgement of photography as an artistic medium in its own right, to the digital revolution and its social media applications, we will consider the technological, economic, political, and artistic histories of photography through selected works of art and seminal critical texts. This course considers photography in a global context. We focus on seminal texts and images in order to explore ethical, commercial, artistic, and political issues that make photography essentially important to our contemporary visual culture. The course explores broad range of photographic practices, techniques, and approaches including the work of Hannah Hoch, Martha Rosler, Hiroshi Sugimoto, Dawoud Bey, Gordon Parks, Nan Goldin, Cindy Sherman, William Eggleston, Shirin Neshat, Wolfgang Tillmans and many more. We regularly visit the collections of AIC and MCoP to enrich our class discussions with private print viewings and exhibition critiques. Students are expected to share an image of their choice in response to the assigned weekly reading. These images are used in class discussion. There also is a final paper, a final presentation, and an in-class test. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1056	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
History of Modern Graphic Design	2730 (001)	Michael Golec	Mon 8:30 AM - 11:15 AM In Person
Description This general survey of graphic design between the 19th and 20th centuries maps the relationships between graphic design and various commercial and cultural institutions under the broad category of the modern. Students study the issues and problems that faced designers, their clients, and their audiences, in the negotiation of commercial and social changes. Through lectures, readings, discussions, and museum visits, the course examines the cultural, social, economic, political, industrial, and technological forces that have influenced the history of graphic design. Course work includes object analysis assignments, research paper, and mid-term and final exams. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1072	Credits 3	Department Art History, Theory, and Criticism Area of Study Graphic Design Location MacLean 707
Art Crit:Write for Mag/News	2751 (001)	Margaret Hawkins	Fri 12:15 PM - 3:00 PM In Person
Description Using the works of established critics and writers as models and using the museum and Chicago galleries as subject matter, students learn to write concise reviews and essays. Class time is spent discussing art, assigned readings, and students? writing. Students are required to turn in one short written work at the beginning of each class. The goal of the course is to develop students? powers of observation, clarity of language and ability to form and defend opinions about works of art. Readings include Kimmelman, Berger, Schjeldahl, Hickey, Lippard, Barnet, Fried, Wolfe. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1045	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Sophomore Seminar: Interdisciplinary	2900 (001)	Jonathan Solomon	Wed 8:30 AM - 11:15 AM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2030	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1240
Sophomore Seminar: Interdisciplinary	2900 (002)	Anjulie Rao	Wed 6:45 PM - 9:30 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2031	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1240
Sophomore Seminar: Interdisciplinary	2900 (006)	Ali Blake	Wed 6:45 PM - 9:30 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2029	Credits 3	Department Art Education Location Sharp 404
Art & Technology	2900 (017)	Eric Leonardson	Tues 12:15 PM - 3:00 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2269	Credits 3	Department Art & Technology / Sound Practices Location MacLean 414
Sophomore Seminar: Interdisciplinary	2900 (021)	Emily Schroeder Willis	Thurs 12:15 PM - 3:00 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2043	Credits 3	Department Ceramics Location MacLean 620
Sophomore Seminar: Interdisciplinary	2900 (026)	Peter J Zerillo	Thurs 3:30 PM - 6:15 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2066	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1407
Sophomore Seminar: Interdisciplinary	2900 (031)	Annie Marie Novotny	Tues 8:30 AM - 11:15 AM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2026	Credits 3	Department Fashion Design Location Lakeview - 203
Sophomore Seminar: Interdisciplinary	2900 (032)	Benjamin Larose	Tues 8:30 AM - 11:15 AM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2226	Credits 3	Department Fashion Design Location Lakeview - 205
Sophomore Seminar: Interdisciplinary	2900 (034)	Caroline Marie Bellios	Fri 12:15 PM - 3:00 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2227	Credits 3	Department Fashion Design Location MacLean 501
Sophomore Seminar: Interdisciplinary	2900 (035)	Bambi Deidre Breakstone	Thurs 8:30 AM - 11:15 AM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2354	Credits 3	Department Fashion Design Location Lakeview - 1428
Craft and Object in Contemporary Art	2900 (036)	Stacia Laura Yeapanis	Wed 12:15 PM - 3:00 PM In Person
Description The word 'craft' has been used both as a badge of honor and as a dismissive slur. This seminar will explore the stereotypes, the history and the changing status of craft in relation to contemporary art in America. We will read essays by craft theorists and makers including Marie Lo, M. Anna Fariello, Bruce Metcalf, L.J. Roberts and Namita Gupta Wiggers and watch the PBS Docuseries 'Craft in America' to help us triangulate an ever-shifting definition of craft. Students will bring previously-critiqued, in-process and revised work to 3 critiques, where an emphasis will be placed not just on WHAT objects mean but also HOW they mean. Course work includes weekly free-writing, reading discussions, and several assignments designed to help students articulate their artistic concerns and contextualize their work. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2044	Credits 3	Department Fiber and Material Studies Location MacLean 301
The Digital Dark Age	2900 (041)	Eric Fleischauer	Thurs 12:15 PM - 3:00 PM In Person
Description as we continue to digitize our world, the chorus of techno-optimists singing technology¿s praises is louder than ever. but...are our expansive networks and digital tools truly enlightening us? or are they in fact working to obscure, impede, and deny us the very things they are said to provide? this seminar will confront the dark cloud looming over our digital domains. we will examine how advances in information technology have generated a growing set of unintended consequences that hinder our view of the world, and diminish our agency within it. we will reflect on various topics including technology and power, complex uncertainty, perpetual surveillance, archival viability, and eroding empathy. selected readings, screenings, assignments, and critiques will map out lines of inquiry for students to consider and apply to their research + studio practices. a significant amount of class time will be spent in critique + conversation offering students feedback and mentorship throughout the semester. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2033	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 517
Documentary Ethics	2900 (043)	Paige Taul	Tues 12:15 PM - 3:00 PM In Person
Description In documentary media, there is a tension between the real (the world and people to which the filmmaker directs their gaze and records) and the creative or expressive treatment of the real (the argument and rhetorical devices by which the filmmaker presents the recordings). This tension raises questions about the truth and value of the documented world, about the rights one has to the representations of others, and about the coherence of one¿s own self. The course will examine a number of documentaries, both historic and contemporary, as case studies whose production, formal choices, exhibition and reception bring particular ethical concerns to light. Case studies will broach issues such as consent in films including Obedience (1965), Grey Gardens (1975), and The Thin Blue Line (1988); the power dynamic of the camera through Cameraperson (2016) and Sans Soleil (1983); ethnographic representation of one¿s self/others in works such as Malni (2020), Tongues Untied (1989) and Nanook of the North (1922); the agency of social actors as in Harvest of Shame (1960), Foragers (2022) and the Act of Killing (2012) and much more. Every week, participants will lead class discussion which will require contextual research, individual presentations and in depth reading. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2229	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 1304
Environmental Extractions: Art, Place, and Voice	2900 (044)	Mikey Peterson	Fri 12:15 PM - 3:00 PM In Person
Description How do environments influence art, and how can we extract imagery, sound and ideas from these places to create work and develop our artistic voices? Through location exploration, image/sound/object collection, experimentation, research and writing we can discover connections between ourselves, our environment, and the artmaking that will shape our creative practices. What are the concerns that drive one?s creative practice? How does one set the terms for its future development? Sophomore Seminar offers interdisciplinary strategies for the evaluation and communication of students? individual practice as artists, designers, and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. Works by video artists, visual artists, and filmmakers are also viewed and discussed. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2243	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 517
Sophomore Seminar: Interdisciplinary	2900 (046)		Mon 8:30 AM - 11:15 AM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2230	Credits 3	Department Undergraduate Studies Location Lakeview - 1427
Sophomore Seminar: Interdisciplinary	2900 (047)	Elena Ailes	Thurs 8:30 AM - 11:15 AM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2231	Credits 3	Department Undergraduate Studies Location Lakeview - 205
Sophomore Seminar: Interdisciplinary	2900 (049)	Joseph David Belknap	Wed 8:30 AM - 11:15 AM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2050	Credits 3	Department Undergraduate Studies Location MacLean 501
Sophomore Seminar: Interdisciplinary	2900 (050)	Sarah Jean Belknap	Mon 8:30 AM - 11:15 AM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2051	Credits 3	Department Undergraduate Studies Location Lakeview - 1428
BODY POSITIVE	2900 (051)	Erica R. Mott	Mon 12:15 PM - 3:00 PM In Person
Description What does one¿s emergent creative practice have to do with one¿s body in the world? How do we maintain the resilience and vulnerability required of artists and art students when we already feel so vulnerable in our everyday lives? How, as audiences and community members, do we share and receive feedback generously while still honoring our own lived experiences? This course offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. While the focus of this course will be on both embodied practices and the politics of having a body, it is open to all disciplines and areas of study. Through studio assignments, readings, viewings, and writing projects, students will generate a clearer understanding about how and why they make art, and how to continue making their work authentically. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2025	Credits 3	Department Performance Location 280 Building Rm 012
Sophomore Seminar: Interdisciplinary	2900 (056)	Rachel Herman	Thurs 3:30 PM - 6:15 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2042	Credits 3	Department Photography Location 280 Building Rm 214
Sophomore Seminar: Interdisciplinary	2900 (061)	Jasper Goodrich	Mon 8:30 AM - 11:15 AM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2233	Credits 3	Department Printmedia Location 280 Building Rm 203
Sophomore Seminar: Interdisciplinary (Fall)	2900 (066)	Leah Ke Yi Zheng	Wed 8:30 AM - 11:15 AM In Person
Description This fall section of Sophomore Seminar is for second-semester Sophomores. Students must have 39 credits or more to enroll in this course. What are the concerns that drive one¿s creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2035	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
Brainspace to Studiospace	2900 (067)	Danny Bredar	Thurs 8:30 AM - 11:15 AM In Person
Description This Sophomore Seminar explores how artists and designers organize, prioritize, develop, and build their ideas into works in real life. Special emphasis will be put on designing projects, evaluating them, methods of critique, and idea generation. Readings and lectures will focus on different individual artists who reimagined their practices in surprising ways including Qiu Zhijie?s ?Total Art?, Mierle Laderman Ukeles? ?Maintenance Art? and Lee Lozano?s ?Drop Out Piece?. Important texts include Printed Matter?s collection of artist essays ?The Social Medium: Artists Writing, 2000-2015? and Catherine Wagley?s essay ?The Conversation: Female Artist as Art Historian? from X-Tra magazine. Students will learn to evaluate their past experiences with art and communicate about their individual practices as artists, designers, and scholars. Students will build an aspirational plan for their future at SAIC and beyond. With the goal of students will learn about how and why they make art, assignments will ask them to track their influences and reflect on what they think is valuable in culture. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2036	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
Repertoire	2900 (068)	Rachel Niffenegger	Thurs 6:45 PM - 9:30 PM In Person
Description This Sophomore Seminar section, Repertoire, is relevant to studio artists working across all media who are questioning and developing how meaning and material intersect in their work. We will focus on inventorying the entire stock of techniques and concepts explored in our work at SAIC until this point. Through critique and discussion we will iterate within our established repertoires with our sights set on developing studio practices that allow for both focus and innovation. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2037	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
Sophomore Seminar: Interdisciplinary (Fall)	2900 (069)	Alexis de Chaunac	Mon 8:30 AM - 11:15 AM In Person
Description This fall section of Sophomore Seminar is for second-semester Sophomores. Students must have 39 credits or more to enroll in this course. What are the concerns that drive one¿s creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2038	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
Sophomore Seminar: Interdisciplinary	2900 (071)	Nyeema Morgan	Wed 12:15 PM - 3:00 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2039	Credits 3	Department Sculpture Location 280 Building Rm 032
Hybrid Practices	2900 (081)	Joshua Rios	Tues 3:30 PM - 6:15 PM In Person
Description Hybrid Practices seeks to bring artistic experimentation and research-based scholarship together. In general, Visual and Critical Studies promotes academic and artistic hybridity as a way to examine the social forces that shape our lives. Many fields will be engaged, including queer and feminist theory, literature, social identity, postcolonial studies, art history, and philosophy. The goal is to support student practices by exposing them to various critical conversations related to politics (social life) and art (general creativity). This course prioritizes artists historically marginalized because of their social identities, including gender, race, ethnicity, able-bodiedness, sexual orientation, and more. Some artist, writers, and thinkers to be considered include, Black Audio Film Collective, Glenn Ligon, #decolonizethisplace, Sky Hopinka, Park McArthur, Sunaura Taylor, Michel Foucault, Super Futures Haunt Qollective, and Judith Butler. Screenings will include a variety of videos related to contemporary art and critical theory, including ¿Martha Rosler Reads Vogue: Wishing, Dreaming, Winning, Spending,¿ Forensic Architecture¿s 'Rebel Architecture: The Architecture of Violence,' Coco Fusco¿s ¿TED Ethology: Primate Visions of the Human Mind,¿ Paper Tiger TV¿s ¿Donna Haraway Reads the National Geographic on Primates,¿ and Democracy Now¿s ¿Freed but Not Free: Artists at the Venice Biennale Respond to the #BlackLivesMatter Movement.¿ Coursework includes a reading schedule, research-supported discussions, moments of creative presentation/critique, and writing assignments that engage hybrid approaches to culture, history, and theory. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2234	Credits 3	Department Visual and Critical Studies Location Lakeview - 1608
Design Strategies	2900 (086)	Kimberly Karen Viviano	Tues 12:15 PM - 3:00 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2224	Credits 3	Department Visual Communication Design Location Sharp 1108
Design Strategies	2900 (087)	Kimberly Karen Viviano	Wed 12:15 PM - 3:00 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2225	Credits 3	Department Visual Communication Design Location Sharp 1108
Sophomore Seminar: Interdisciplinary	2900 (091)	Kathie Bergquist	Thurs 8:30 AM - 11:15 AM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2232	Credits 3	Department Writing Location Lakeview - 803
Sophomore Seminar: Interdisciplinary	2900 (111)	Nancy Sanchez Tamayo	Wed 6:45 PM - 9:30 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2056	Credits 3	Department Undergraduate Studies Location Lakeview - 1427
Sophomore Seminar: Interdisciplinary	2900 (112)	Larry Lee	Tues 3:30 PM - 6:15 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2053	Credits 3	Department Undergraduate Studies Location Lakeview - 205
Sophomore Seminar: Interdisciplinary	2900 (113)	Michelle Bolinger	Thurs 12:15 PM - 3:00 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2057	Credits 3	Department Undergraduate Studies Location Lakeview - 1428
Sophomore Seminar: Interdisciplinary	2900 (114)	Isabel Garcia-Gonzales	Fri 3:30 PM - 6:15 PM In Person
Description What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisite: Must be a sophomore to enroll. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2061	Credits 3	Department Undergraduate Studies Location Lakeview - 1428
Writing Art History	2901 (001)	Annie Bourneuf	Mon 12:15 PM - 3:00 PM In Person
Description The main aim of this intensive course is to learn how to write art history by doing it. Each student will write an original research paper investigating a single, particularly compelling object of her choosing in scaffolded stages over the course of the entire semester, while drawing on a range of library and museum resources and responding to constructive criticism from the teacher and from peers. The course guides students to pose generative questions of their objects, to find and analyze sources, and to make persuasive arguments. We will also at times study the study of art, examining the history of the museum as a framework for such study, and reflecting on as well as using some key analytical moves often used by art historians. We will not only study statements by scholars reflecting on their own methods, but also exemplars of analysis, which we will in turn take apart to figure out how to do such analysis ourselves. While this course is required for the BA in Art History and BFA with Art History Thesis, any undergraduate who wants to write art history is warmly welcome. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2024	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 206
Offset Productions	3001 (001)	Tom Denlinger	Fri 9:00 AM - 3:00 PM In Person
Description This class introduces students to the concepts and production of distributable artists' objects. Working closely with faculty, students will develop projects to be printed on the Heidelberg offset press. Utilizing this high-volume printing process, students¿ potential outcomes may include but are not limited to prints, books, zines, posters, stickers, cards, and packaging. 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, discussions, and visits to special collections, such as the Joan Flasch Artist Book Collection, students will acquire knowledge of a wide range of historical and contemporary artworks made in multiple. Students will apply this knowledge and their new technical skills to inform their planning and execution of printing and publishing projects. Over the semester, students can expect to complete 3-6 multi-color offset projects and participate in two critiques.	Class Number 1547	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 220
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.	Class Number 1766	Credits 3	Department Undergraduate Studies Area of Study Art/Design and Politics Location Lakeview - 202
Top: Archives, Sampling, and Appropriation	3001 (001)	Kamau A. Patton	Thurs 3:30 PM - 6:15 PM In Person
Description This course is a sound production practicum with a focus on sampling and appropriation. Students will engage sound archives as a resource for creative sound design and music production. The seminar will consider contemporary strategies of sampling and appropriation in the context of popular culture, media preservation and intermedia design. Special attention will be given to public sound archives and library collections. Coursework includes reading responses, a mid-term, and a final project. Final projects can take form as a research based text or as a creative project that blends modes of creative production. Students are expected to actively and critically engage the social, political and cultural factors that inform their practice. Course readings explore the scholarly discourse on Interculturalism with focus on processes, structures, systems, and methodology in relation to the moral, ethical and aesthetic questions raised by working with cultural artifacts as material. The seminar encourages trans-disciplinary methodology and cross-media production. The seminar format includes lectures, student-led group discussions and individual student meetings. Online discussion groups will be created for each unit. Students are expected to participate in online discussions in response to unit readings, case studies and discussion prompts. Sound studio access, access to sound technology and tech support will be facilitated for students who wish to have access to campus resources. Prerequisites Prerequisite: First Year English requirement.	Class Number 2139	Credits 3	Department Visual and Critical Studies Location MacLean 816
Intermediate Graphic Design	3001 (001)	Donald Pollack	Tues 9:00 AM - 3:00 PM In Person
Description Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1787	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1116
Painting Studio A: Multi-Level	3001 (001)	Noah Rorem	Mon 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1616	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Intermediate Graphic Design	3001 (002)	Mary Krysinski	Thurs 9:00 AM - 3:00 PM In Person
Description Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1786	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1115
Painting Studio A: Multi-Level	3001 (002)	Jessica Jackson Hutchins	Tues 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1617	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Painting Studio A: Multi-Level	3001 (003)	Claire Ashley	Tues 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1618	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Painting Studio A: Multi-Level	3001 (004)	Karen Azarnia	Tues 3:30 PM - 9:15 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1619	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Painting Studio A: Multi-Level	3001 (005)	Matt Morris	Tues 3:30 PM - 9:15 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1620	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1621	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Painting Studio A: Multi-Level	3001 (007)	Steven Husby	Thurs 3:30 PM - 9:15 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1622	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1623	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Painting Studio A: Multi-Level	3001 (009)	Jo Hormuth	Thurs 3:30 PM - 9:15 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1624	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Painting Studio A: Multi-Level	3001 (010)	Rush Baker IV	Thurs 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1625	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Painting Studio A: Multi-Level	3001 (011)	Robert Burnier	Fri 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1626	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Painting Studio A: Multi-Level	3001 (012)	Tyson Reeder	Thurs 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 2283	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Studio A: Multi-Level	3001 (013)	Caitlin Cherry	Tues 3:30 PM - 9:15 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 2357	Credits 3	Department Painting and Drawing Location 280 Building Rm 321
Survey of Literature II: Unsettling American Lit	3002 (001)	Jane Robbins Mize	Tues 3:30 PM - 6:15 PM In Person
Description This course will introduce students to modern and contemporary literature by thinking through and against the canon. We will read across genres and traditions while discussing how culture, identity, and power relations impact the production and reception of literature in twentieth- and twenty-first-century America. Through readings such as Nella Larsen¿s Passing (1929) and N. Scott Momaday¿s House Made of Dawn (1968), we will analyze texts that unsettle hegemonic aesthetics and amplify marginalized voices. As such, students can expect to develop as critical thinkers, close readers, writers, and researchers. Prerequisites Prerequisite: First Year English requirement.	Class Number 1482	Credits 3	Department Liberal Arts Location MacLean 608
Etching: Intermediate/Advanced	3002 (001)	Eliza Myrie	Fri 9:00 AM - 3:00 PM In Person
Description Students develop intaglio techniques at an intermediate and advanced level. Demonstrated techniques include drypoint, etching, engraving, aquatint, sugarlift, spitbite, whiteground, softground, multi-plate printing, photographic and digital image making, as well as a variety of experimental approaches to plate making and printing. Skills taught in this course build on those acquired in beginning etching, and students will expand upon previous projects and develop new approaches to exploring content and understanding intaglio techniques. Prerequisites Prerequisite: PRINT 2002 or PRINT 2006.	Class Number 1559	Credits 3	Department Printmedia Location 280 Building Rm 223
Large-Format	3002 (001)	Sara Condo	Fri 9:00 AM - 3:00 PM In Person
Description Large Format Photography introduces students to the concepts and aesthetics of working with a large-format view camera. Students will learn pre-visualization, camera movements, perspective control, large-format optics, and sheet film handling. Through flexible assignments, they are encouraged to develop a personal style while exploring traditional genres such as portraiture, landscape, studio, and architecture. Technical skills include view camera setup, the zone system, large-format scanning, and both analog and digital printing. Each student is assigned a 4x5 studio camera and has access to 8x10 and 4x5 field cameras, along with various optics and accessories. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1523	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 215
Ptg Std B:Funny Painting	3002 (002)	Scott Reeder	Wed 9:00 AM - 3:00 PM In Person
Description This course will explore the many varied possibilities of humor and painting. Through studio work, readings, presentations, and in class critique students will investigate both funny Ha Ha and funny Peculiar; drawing inspiration from alternative figures in art history as well as alternative approaches to making. Special emphasis will be placed on artists who employ an interdisciplinary studio practice. Some examples of artists to be discussed; Martin Kippenberger, Dieter Roth, David Shrigley, Paul McCarthy, Brenna Murphy, The Hairy Who, The Gutai Movement, Erwin Wurm, Rachel Harrison, Maurizio Cattelan, Arte Povera, Tom Friedman, Jessica Stockholder, Sigmar Polke, Francis Picabia. Prerequisites Prerequisite: PTDW 3001, 3003 or 3030	Class Number 1668	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Ptg Std B:Pictorial Structures	3002 (003)	Richard Hull	Fri 9:00 AM - 3:00 PM In Person
Description In this class we will go to the galleries in the museum every week, looking at and talking about how paintings are made, focusing on the underlining pictorial structure: the way artist in the past created a pictorial tension that still give the paintings presence today despite what might seem to us as anachronistic subjects. We will spend the majority of the time in the studio working and hopefully applying what we learn in the museum to your paintings. There is no stylistic agenda for this class: It's not what it is; it's what it does. Prerequisites Prerequisite: PTDW 3001, 3003 or 3030	Class Number 2119	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Ptg Std B: The Neurotic Figure	3002 (004)	Peter Jorge Fagundo	Thurs 9:00 AM - 3:00 PM In Person
Description This Multi-level B Painting and Drawing class will explore the return of the figure to contemporary painting. After decades of marginalization, the figure has returned to the center of the conversation in avant-garde painting, but it¿s changed. We aren¿t seeing the idealized white bodies and perceptual terms of the tradition inherited from European masters. Instead, we are seeing bodies of various race and gender, specific and imperfect, anxious and awkward, human. Students will explore this variety and specificity in the themes and structures of their own experience and work. Studying the work of the past and present masters will set the stage for future stories of the body in painting. Prerequisites Prerequisite: PTDW 3001, 3003 or 3030	Class Number 2212	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
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 1653	Credits 3	Department Painting and Drawing Area of Study Animation, Community & Social Engagement, Illustration Location Online
Intermediate and Advanced Lithography	3003 (001)	Jess Giffin	Fri 9:00 AM - 3:00 PM In Person
Description This intermediate-advanced studio develops students' creative practice in print through an engagement with plate lithography's wide range of image-making possibilities. Students gain a comprehensive introduction to printing with aluminum plates, including color and multi-layer printing, with an emphasis on individual experimentation and the ways lithography can extend studio interests within a personal practice. The course is designed for students who wish to build on their lithography skills, as well as those without prior experience who want to expand a portfolio rooted in other printmedia areas, such as screen, relief, etching, or offset. The first half of the semester builds technical skills through demonstrations and two assigned projects focused on multilayer and color printing on aluminum plates. In the second half, students develop self-directed projects from a short written proposal, with the option to propose a stone project for those with prior stone experience. Demonstrations and discussions cover plate-based techniques, including hand-drawn, digital, and photo-based methods, layering, multi-color printing, advanced registration, CMYK, duotone, alternative plates (such as pronto plates), and the production of editions, multiples, and alternative formats. Examples of contemporary and historical lithographs, short readings, and a visit to the Art Institute of Chicago's Prints and Drawings Collection support discussion and project development. Students can expect to complete three to five finished pieces and participate in two critiques. Prerequisites Prerequisite: PRINT 2003 or PRINT 3034 or PRINT 3044 or permission of instructor.	Class Number 2198	Credits 3	Department Printmedia Area of Study Digital Imaging Location 280 Building Rm 221
Video Everywhere	3003 (001)	Mikey Peterson	Tues 9:00 AM - 3:00 PM In Person
Description This course introduces video as a medium for artistic expression and social inquiry. Students gain an understanding of the video image-making process and develop proficiency with video equipment, including portable and studio production and editing systems. Strategies for the use of video as an art-making tool are explored. Works by video artists are viewed and discussed. Prerequisites FVNM 2000 or FVNM 5020	Class Number 1431	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication, Social Media and the Web Location MacLean 518
Top: Doubles	3004 (001)	Whitney D. Johnson	Tues 9:00 AM - 3:00 PM In Person
Description Mirrors, alter egos, polarities, doppelgängers, gender binaries, impostors, twins, and shadows. Many auditory illusions also arise from doubles. For example, the two sides of the human head can produce psychoacoustic phenomena, such as binaural beats. The dual nature of audio-visual experiences can produce complex illusions, such as the McGurk effect. To knock at the door of these doubles, we will read a few words on doubles by doubles--Jung and Lacan, Sontag and Butler, Sartre and Fosse, Fanon and Said, Artaud and Bataille--and listen to sonic doubles in contemporary practice. Automatic writing will prepare us to create our own auditory illusions in recorded and performed stereophonic sound. Will these doubles sublate?	Class Number 1124	Credits 3	Department Art & Technology / Sound Practices Location MacLean 521
Individual Projects	3004 (001)	Marzena Abrahamik	Thurs 9:00 AM - 3:00 PM In Person
Description This course fosters the development of self-directed, research-driven projects, challenging students to push beyond traditional photographic approaches and explore interdisciplinary practices. Emphasizing experimentation, students refine their conceptual depth and technical skills while advancing a sustained body of work. Through critiques, discussions, collaborations, workshops, and individual mentoring, the course supports ambitious project development and strategies for exhibition, publication, and public engagement. Designed to complement Senior Capstone projects, it prepares students for the BFA exhibition and professional creative practices. May be repeated for credit. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1534	Credits 3	Department Photography Location 280 Building Rm 215
Top: Spatial Audio	3004 (002)	Joseph Michael Kramer	Tues 9:00 AM - 3:00 PM In Person
Description This class goes beyond the idea of ?surround sound? to consider the possibilities and challenges inherent in presenting sonic compositions to listeners through something other than the default left and right loudspeakers. From the spatial illusions of stereo and ambisonic arrays to tiny, tinny speaker fields, techniques for designing and experiencing multichannel, spatialized sound work will be explored. Emphasis will be given to emerging technologies and experimental techniques. DIY approaches and accessible tools, such as those available for VR sound, will be explored on the path to a practice that foregrounds the presentation of sound in space. A case for mono will be considered. Some of the artists whose work we will explore include Janet Cardiff, Natasha Barrett, Iannis Xenakis, Florian Hecker, and Tristan Perich. Readings will include artist statements as well as technical manuals for relevant tools. Weekly assignments are designed to emphasize specific technical or aesthetic concerns such as issues of electronic and acoustic power, multichannel playback formats, spatial audio in virtual reality, audience experience and the ?sweet spot?. One to two portfolio projects will be created and presented in class in two formal critiques.	Class Number 2189	Credits 3	Department Art & Technology / Sound Practices Location MacLean 522
Digital Music: Concepts, Structures, Materials	3005 (001)	Allie n Steve Mullen	Thurs 9:00 AM - 3:00 PM In Person
Description This course introduces students to the fundamental materials of music composition, the structures used to shape these materials, and techniques and strategies students can use to create fully formed pieces of music. Referencing traditional and experimental practices from many cultures and histories, we examine the basic musical elements of rhythm, meter, tonal organization, harmony, and timbre. These are applied in a digital studio environment via sampling, sound synthesis, looping, and live recording using Apple's Logic digital audio workstation. Musical works by artists from diverse backgrounds and identities are analyzed to understand how these materials and concepts are used to sculpt emotional expressions, narrative forms, abstract constructions, or conceptual statements. Students work with these references, elements, and materials to make their own work in genres of their own choice. No style of music is off limits. Course work will vary but typically includes participation in weekly experiments and the presentation of self-devised projects at midterm and the end of the semester. Students work with the materials, structures, and techniques introduced to make their own work in genres of their own choice.	Class Number 1120	Credits 3	Department Art & Technology / Sound Practices Location MacLean 431
Top: Manipulations and Extensions	3005 (001)	Robert Clarke-Davis	Thurs 9:00 AM - 3:00 PM In Person
Description This course explores image-making through unconventional cameras, alternative processes, and creative interventions. From plastic lenses to pinhole photography, from cross-processing to digital manipulation, we will embrace and elevate the discarded, the imperfect, and the forgotten in an AI free zone. Using cameras like the Recesky twin-lens reflex, Konstruktor, Big Shot, Sunpet, and key ring cameras, as well as techniques such as zone plate and pinhole photography, students will push the limits of photographic perception. Inspired by figures like Henry Beck, we will champion low-tech and hybrid approaches, finding beauty in limitation and innovation in constraint. Through hands-on experimentation with both analog and digital tools, students will develop a personal approach to image-making that celebrates the unexpected. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1527	Credits 3	Department Photography Location 280 Building Rm 206
Top:Fashion Photography	3005 (002)	Donald Yoshida, Mayumi Lake	Thurs 9:00 AM - 3:00 PM In Person
Description Class objectives are to provide students with an opportunity to work through the process of concept development, pre-production, fashion Styling, hair & markup, set design, location scouting, studio & natural lighting techniques, digital post production, and how to capture the essence of the fashion theme through tested photography techniques. Garment silhouette, cut & construction, color, pattern and texture are key elements given consideration to clearly communicate the fashion design idea using the most up-to-date and effective photographic techniques. Editorial Photography themes are used in collaboration with Fashion students, garments and class photo shoots are used throughout the Fashion Department's annal award-winning 'the Book' publication. Visits to professional fashion photographer studios, exhibition visits, and in-class lectures give students additional opportunities to discuss create and technical topics being used today in fashion photography. This course requires instructor consent and an application. Please do not email the instructor directly. Instead, fill out the form at this link, https://tinyurl.com/mwuhuntx, to submit your portfolio and application before the deadline. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1532	Credits 3	Department Photography Location 280 Building Rm 214
Top:Fashion Photography	3005 (002)	Donald Yoshida, Mayumi Lake	Thurs 9:00 AM - 3:00 PM In Person
Description Class objectives are to provide students with an opportunity to work through the process of concept development, pre-production, fashion Styling, hair & markup, set design, location scouting, studio & natural lighting techniques, digital post production, and how to capture the essence of the fashion theme through tested photography techniques. Garment silhouette, cut & construction, color, pattern and texture are key elements given consideration to clearly communicate the fashion design idea using the most up-to-date and effective photographic techniques. Editorial Photography themes are used in collaboration with Fashion students, garments and class photo shoots are used throughout the Fashion Department's annal award-winning 'the Book' publication. Visits to professional fashion photographer studios, exhibition visits, and in-class lectures give students additional opportunities to discuss create and technical topics being used today in fashion photography. This course requires instructor consent and an application. Please do not email the instructor directly. Instead, fill out the form at this link, https://tinyurl.com/mwuhuntx, to submit your portfolio and application before the deadline. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1532	Credits 3	Department Photography Location 280 Building Rm 214
Top: Working with Image and Text	3005 (004)	Kelli Connell	Fri 9:00 AM - 3:00 PM In Person
Description This course provides an in-depth exploration of the conceptual and practical issues surrounding works that use image and text as a significant strategy in their communication. A wide range of image and text examples in contemporary practice will be examined. topics including artists who work with text; writers who work with images; strategies for generating thought-provoking image and text relationships; and topics such as time, autobiography, archival research, politics, memory, poetry, performance and interdisciplinary approaches will be discussed. Students complete assignments combining image and text. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1540	Credits 3	Department Photography Location 280 Building Rm 214
Analog Systems	3007 (001)	Brett Ian Balogh	Tues 9:00 AM - 3:00 PM All Online
Description What can analog electronics teach us about making art in a world shaped by digital systems? This hands-on studio explores circuits as creative tools, focusing on sound, light, and motion as expressive media-without relying on code or software. Students can step outside the shadow of AI and mass computation to explore a more intimate relationship between materials, energy and creativity-while experimenting with performance, interactive objects, audiovisual instruments, and installations. Alongside studio practice, we will look at artists who have expanded the possibilities of analog media and study pioneering tools such as the Sandin Image Processor, a patch-programmable analog computer. Students will be invited to connect these histories and techniques to their own practices through the creation of a final project. No prior experience is required-only curiosity, imagination, and a willingness to learn.	Class Number 2367	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science, Social Media and the Web Location Online
Image Editing & Output	3007 (001)	Alex Wieder	Tues 3:30 PM - 9:15 PM In Person
Description Image Editing & Output refines digital imaging skills with a focus on post-production and high-quality printing. Students refine workflows, develop expertise in advanced editing techniques like color management, masking, and compositing, and explore creative post-production methods using Photoshop and other software. Technical assignments and self-directed projects reinforce these skills. Readings and discussions address contemporary issues in digital imaging and evolving output technologies. As digital tools constantly change, students develop research and problem-solving strategies to adapt their workflows and stay current with new advancements. This course balances technical precision with creative exploration, preparing students for the ever-evolving world of digital imaging. Prerequisites Prerequisite: PHOTO 1001 and PHOTO 2010.	Class Number 1538	Credits 3	Department Photography Area of Study Books and Publishing, Digital Imaging Location 280 Building Rm 215
QUEER: Politics and Care in Precarious Times	3007 (003)	Ivan Bujan	Mon 8:30 AM - 11:15 AM In Person
Description This course examines how queer communities and practices have sustained themselves amid political, social, and cultural precarity - and how such crises have simultaneously generated new possibilities for connection, creativity, and resistance. Drawing on key concepts in queer studies and queer of color critique, the course investigates how art, activism, and collective care have served as strategies for survival, solidarity, and world-making. Through historical and contemporary case studies - including the Tenderloin riots, the Stonewall uprising, the AIDS activist movement, disability justice, and harm reduction practices, among others - we will explore how moments of crisis have fostered resilient networks of care and mutual support. Readings and case studies spanning art, activism, and politics will illuminate how queer politics continually emerge from majoritarian structures aimed at systemic erasure. Ultimately, the course invites students to think about 'queer' not only as an identity but as a political practice of care and resistance in precarious times. Prerequisites Prerequisite: First Year English requirement.	Class Number 1753	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location Lakeview - 203
Top: 'Sex in Public'	3007 (004)	Kirin Wachter-Grene	Fri 12:15 PM - 3:00 PM In Person
Description This course addresses sexuality and the erotics of interclass contact from the end of the 1960s through the present, with an emphasis on LGBTQ+ within a historical nexus of urban life, architecture, law, and struggles for civil rights. In what ways are our sexual lives produced, mediated, and disciplined by publics (and what are 'publics'?). Readings include Samuel R. Delany, Lauren Berlant, Michael Warner, Pat Califia, Gayl Rubin, David Wojnarowicz, Michel Foucault, Jeffrey Weeks, Laud Humphries, Tim Dean, Mireille Miller-Young, and more. We will also learn from guest speakers involved in the leather, kink, and fetish communities. Students can expect to read between 50-75 pages of critical and theoretical material per week and to write about and discuss texts in depth. Students will also take turns as discussion leaders. Prerequisites Prerequisite: First Year English requirement.	Class Number 2279	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location MacLean 816
Russian Soul through Music	3008 (001)	Katarzyna Grochowska	Tues 12:15 PM - 3:00 PM In Person
Description What does it mean to be Russian? What is the Russian mission, and how does it fit into the world? What defines true Russia? These questions have engaged the minds of Russian artists since Peter the Great introduced European ideas to the young Slavic nation in 1698. This course will explore Russia as a complex entity held together by the subtle threads of its native sensibility. We will examine Russian cultural history through various creative works, such as Stravinsky¿s The Rite of Spring, as well as artifacts ranging from folk embroidery to the musical traditions of peasant songs. These artifacts will not only represent art but also reveal ideologies and beliefs that embody the essence of a nation. They will demonstrate how art and music are intertwined with politics, customs, beliefs, folklore, habits, and mental landscapes, all of which are potent forces shaping culture. Examples of Russian music, both classical and folk, ( recordings and Youtube examples), Russian operas and ballets, musicals, folk dances and cinematography; excepts from Russian literature, diaries, plays. Two exams: the Midterm and the final exam. 1. Assigned music to listen to every week, and about 20 pages to read. or 2. Excerpts from operas and musicals to watch, and about 20 pages to read. Prerequisites Prerequisite: First Year English requirement.	Class Number 2252	Credits 3	Department Liberal Arts Location MacLean 617
Intermediate/Advanced Screenprinting	3008 (001)	Peter Power	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. In this intermediate and advanced screenprinting class, students will further explore the use of screenprinting techniques in order to strengthen their studio practice. Processes explored may include hand stencil techniques, stencil blockout progressions, light sensitive stencils with hand-drawn and photo-based imagery, spot and process coloring, color registration, and alternative surface techniques. Students will also be exposed to historical examples of the applications of screenprinting through the Prints and Drawings Study Room at AIC and/or the Joan Flasch Artists Books Collection. Because this is a 3000 level course, students should already have a working knowledge of screenprinting techniques. Prerequisites PRINT 2005 or 2008 Pre-req	Class Number 1549	Credits 3	Department Printmedia Location 280 Building Rm 222
Olfactory Art	3009 (001)	Tedd Neenan	Mon 9:00 AM - 3:00 PM In Person
Description Students will investigate scent as an expressive medium. They will have access to the ATS Perfume Organ and specialized lab equipment. Course content includes basic aromatic blending, hydro-distillation extraction techniques and how to impregnate scent into various media. At least TWO works of Olfactory Art are to be completed. The last one is considered the FINAL and should be an opus ready for gallery/performance/experiential application.Students should leave this class with the ability to thoughtfully engage Olfactory Work as practitioners, researchers and thinkers within personal, historical, theoretical and conceptual contexts.	Class Number 1106	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location Michigan B1-19
Introduction to Art Therapy	3009 (001)	Leah Ra'Chel Gipson	Thurs 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.	Class Number 1101	Credits 3	Department Art Therapy Area of Study Community & Social Engagement Location Sharp 404
Structuring, Sequencing and Series	3010 (001)	Aimée Beaubien	Mon 9:00 AM - 3:00 PM In Person
Description Structuring, Sequencing, Series explores how photographic meaning is shaped through sequences and series¿fundamental ways we encounter images in books, exhibitions, installations, and digital spaces. This course examines how structure influences interpretation, considering both narrative and non-narrative approaches across diverse genres. Through hands-on assignments, students will experiment with serial imagery in photobooks, zines, portfolios, web-based projects, installations, video, and projection. By analyzing historical and contemporary examples, students will develop a deeper understanding of photography¿s evolving role and refine their ability to construct compelling visual narratives. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1531	Credits 3	Department Photography Area of Study Books and Publishing, Comics and Graphic Novels, Digital Imaging Location 280 Building Rm 215
Multi-Lvl Fashion Illustration	3010 (001)	Dijana Granov	Mon 9:00 AM - 3:00 PM In Person
Description This course is designed for students who have completed beginning fashion illustration. Emphasis is placed on personal style and media development. Students explore a variety of texture rendering and illustration problem solving. Prerequisites Prerequisite: FASH 2007	Class Number 1367	Credits 3	Department Fashion Design Area of Study Illustration Location Sullivan Center 734
Symbiosis: How Life Lives Together	3010 (001)	Matthew Nelsen	Thurs 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2178	Credits 3	Department Liberal Arts Area of Study Art and Science, Sustainable Design Location MacLean 608
Tutorial in Visual and Critical Studies	3010 (001)	Danny Floyd	Wed 12:15 PM - 3:00 PM In Person
Description This course will provide a link between Issues in Visual and Critical Studies, required of all first-year B.A. students, and the Thesis Seminar required in their final year. Typically, students will take this course at the end of their second year of full-time study. Building on the Issues course, early in the course students will read material that suggests the range of possibilities for visual and critical studies. Then each student will undertake a project that focuses on some aspect of visual and critical studies of particular interest to them. The project must include a substantial written component, although it might also make use of other media. Student presentation of their projects, as works in progress and then completed work, will provide opportunity for discussion of how they might give coherence to their final semesters of study. This will include suggestions for connections they might make among different aspects of their education, and will serve as an early stage in the process of developing a senior thesis project. Prerequisites Prerequisite: Open to BAVCS/BFAVCS students only.	Class Number 1767	Credits 3	Department Visual and Critical Studies Location Lakeview - 205
Illustration: Objects of Fashion and Lifestyle	3011 (001)	Donald Yoshida	Fri 9:00 AM - 3:00 PM In Person
Description This class focuses on various drawing techniques and skills with an emphasis on illustrating fashion accessories and lifestyle objects that fill our world. Personal style and media exploration are aimed at developing portfolios. Concentration on presentation ideas and refining design details are included in this studio workshop. Students work on studio problems, sketchbook assignments, and individual projects. Prerequisites Prerequisite: FASH 2007	Class Number 1374	Credits 3	Department Fashion Design Location Sullivan Center 734
Sound and Image	3011 (001)	James Paul Wetzel	Wed 9:00 AM - 3:00 PM In Person
Description This course focuses on the relationship of sound to moving image, and introduces post-production techniques and strategies that address this relationship as a compositional imperative. Thorough instruction is given on digital audio post-production techniques for moving image, including recording, sound file imports, soundtrack composition and assembly, sound design, and mixing in stereo and surround-sound. This is supplemented by presentations on acoustics and auditory perception. Assigned readings in theories and strategies of sound-image relationships inform studio instruction. Assigned projects focus on gaining post-production skills, and students produce independent projects of their own that integrate sound and moving image. Artists include Chantal Dumas, Walter Verdin, Deborah Stratman, Lucrecia Martel, Martin Scorcese, Abigail Child, Frederic Moffet, Gyorgi Palvi, Francis Ford Coppola, Gary Hill, and others. Writings in theory include texts by Michel Chion, Rick Altman, and others. The student?s independent image-and-sound work is foregrounded and supported; supplemental assigned projects include sound sequence composition and ADR recording and mixing. Prerequisites SOUND 2001 or FVNM 2004 or FVNM 5020	Class Number 1130	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 1413
Sound and Image	3011 (001)	James Paul Wetzel	Wed 9:00 AM - 3:00 PM In Person
Description This course focuses on the relationship of sound to moving image, and introduces post-production techniques and strategies that address this relationship as a compositional imperative. Thorough instruction is given on digital audio post-production techniques for moving image, including recording, sound file imports, soundtrack composition and assembly, sound design, and mixing in stereo and surround-sound. This is supplemented by presentations on acoustics and auditory perception. Assigned readings in theories and strategies of sound-image relationships inform studio instruction. Assigned projects focus on gaining post-production skills, and students produce independent projects of their own that integrate sound and moving image. Artists include Chantal Dumas, Walter Verdin, Deborah Stratman, Lucrecia Martel, Martin Scorcese, Abigail Child, Frederic Moffet, Gyorgi Palvi, Francis Ford Coppola, Gary Hill, and others. Writings in theory include texts by Michel Chion, Rick Altman, and others. The student?s independent image-and-sound work is foregrounded and supported; supplemental assigned projects include sound sequence composition and ADR recording and mixing. Prerequisites SOUND 2001 or FVNM 2004 or FVNM 5020	Class Number 1454	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication Location MacLean 1413
Intermediate Typography	3011 (001)		Wed 9:00 AM - 3:00 PM In Person
Description This course explores the power and beauty of typography as a delivery mechanism for information, narrative structures and alternate forms of expression. Working with form, space and meaning, students can expect to learn how to organize complex verbal information into cohesive typographic systems and hierarchical configurations; how to create sophisticated grid systems and enhance functionality through navigation and structural consistency within a multiple page/screen environment; how to work with intertextuality, non-linearity, dramatic pacing and experimental typography as an emotive voice. Suggested readings and screenings vary and may include Thinking With Type (Lupton, 2010), Letter Fountain (Pohlen, 2015), The Elements of Typographic Style (Bringhurst, 2004), The Complete Manual of Typography (Felici, 2012), Typographic Design: Form and Communication (Carter, Day, Meggs, 2012). In addition, students will examine the application and effects of typographic design in historical and modern-day contexts with a primary focus on print media. Students will work on assignments of varying complexity and duration. Assignments are structured to build skills, understanding and confidence in typographic manipulation, and are designed to yield valuable components of the student?s portfolio. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1789	Credits 3	Department Visual Communication Design Area of Study Books and Publishing, Graphic Design Location Sharp 1115
Intermediate Typography	3011 (002)	Mark Stammers	Fri 9:00 AM - 3:00 PM In Person
Description This course explores the power and beauty of typography as a delivery mechanism for information, narrative structures and alternate forms of expression. Working with form, space and meaning, students can expect to learn how to organize complex verbal information into cohesive typographic systems and hierarchical configurations; how to create sophisticated grid systems and enhance functionality through navigation and structural consistency within a multiple page/screen environment; how to work with intertextuality, non-linearity, dramatic pacing and experimental typography as an emotive voice. Suggested readings and screenings vary and may include Thinking With Type (Lupton, 2010), Letter Fountain (Pohlen, 2015), The Elements of Typographic Style (Bringhurst, 2004), The Complete Manual of Typography (Felici, 2012), Typographic Design: Form and Communication (Carter, Day, Meggs, 2012). In addition, students will examine the application and effects of typographic design in historical and modern-day contexts with a primary focus on print media. Students will work on assignments of varying complexity and duration. Assignments are structured to build skills, understanding and confidence in typographic manipulation, and are designed to yield valuable components of the student?s portfolio. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1788	Credits 3	Department Visual Communication Design Area of Study Books and Publishing, Graphic Design Location Sharp 1116
DIY: Self-Management for Artists	3012 (001)	Rosalynn Gingerich	Fri 12:15 PM - 3:00 PM In Person
Description The life of an artist is largely self-directed and self-managed. Reflecting on our current gig economy, we know that artists have always been considered the original gig workers tasked with managing an active studio practice, alongside multiple jobs and projects. DIY: Self-Management for Artists looks to the inherent management tools embodied in artistic practice, as a theoretical and practical framework to apply toward managing a sustainable and purposeful professional and personal life. This class will explore listening and critical feedback, project development and management, marketing and branding strategy, strategic planning, negotiation, building and maintaining networks, and portfolio development. Readings will vary, and include articles and excerpts from: How to do Nothing: Resisting the Attention Economy by Jenny Odell, The Art of Gathering: How we Meet and Why it Matters by Priya Parker, Start with Why: How Great Leaders Inspire Everyone to Take Action by Simon Sinek, Critical Response Process: A Method for Getting Useful Feedback on Anything you Make from Dance to Dessert by Liz Lerman; The Artist?s Guide: How to Make a Living Doing What You Love by Jackie Battenfield, Making: Your Life as an Artist by Andrew Simonet, Living and Sustaining a Creative Life: Essays by 40 Working Artists by Sharon.Loudon Course work will vary but will include readings and critical writing responses throughout the semester, the development of a written project scope, regular class presentations and a final project on one aspect of a student's portfolio.	Class Number 1088	Credits 3	Department Arts Administration and Policy Location MacLean 620
Chemistry of Pigments: The Theory and History of Pigment Chemistry in Art	3013 (001)	Gary McDowell	Wed 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2251	Credits 3	Department Liberal Arts Area of Study Art and Science Location Lakeview - 1503
Designing Distant: Design for Learning	3013 (001)	Laura L Prieto-Velasco	Sat 1:00 PM - 3:45 PM In Person
Description A seminar for designers who want to imagine, question, and prototype new futures. This course explores how design can shape the future of learning, culture, and experience through applied imagination grounded in research, empathy, and storytelling. Each semester focuses on a distinct theme while sharing a common approach that expands design beyond problem solving toward investigation, reflection, and creative foresight.. Drawing from speculative and critical design, learning experience design, and contextual research, students study cultural, social, material, and environmental contexts to understand how systems shape experience. Through narrative, scenario building, and worldbuilding, they test ideas and envision alternative ways of living and making meaning, creating designed artifacts and experiences that express how design can shape the world¿s evolution.	Class Number 2217	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Product Design, Sustainable Design Location Sullivan Center 1226
Supply and Surplus: The Art of Making Things	3014 (001)	Jackey Cave	Wed 9:00 AM - 3:00 PM In Person
Description This advanced course focuses on the making of things through the use of drawing, garment, and sculpture and its use in lifestyle. Outings to a variety of alternative sites are the central part of this class, including thrift stores, warehouses, flea markets, and the rural surroundings. Students investigate the idea of 'Usefulness' as well as function, content, appropriate design, and audience. Emphasis is placed on challenging the narrative definition of 'The art of making things.' Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1369	Credits 3	Department Fashion Design Area of Study Public Space, Site, Landscape, Sustainable Design Location Sullivan Center 723
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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2256	Credits 3	Department Liberal Arts Area of Study Community & Social Engagement, Art and Science Location MacLean 111
Noise! Unruly Experiments in Sound & Culture	3015 (001)	Bonnie Han Jones	Wed 12:15 PM - 3:00 PM In Person
Description This studio-seminar will explore noise as a creative and critical force in experimental music, sound art, and digital media. Through a hybrid practice of making/thinking, we examine noise in relation to the environment, political space and protest, embodied practices, and technology. Students work across performance, media, electronics, and everyday materials - investigating noise as signal, disruption, and expression. Readings introduce key ideas from scholars like Jacques Attali, Legacy Russell, and Steve Goodman. Listenings will closely analyze the practices of artists like Lou Reed, Moor Mother, Merzbow, The Art Ensemble of Chicago, Clipping, and Wolf Eyes. Through hands-on projects, students create their own noise-based works exploring techniques such as: glitch and databending, audio and visual feedback, synthesis and processing, generative software systems, and more. The course includes weekly discussions, technical demos, and 3-4 portfolio projects. It culminates in a live performance, installation, or sonic intervention that is developed in phases with peer feedback and faculty support over the course of the semester. No prior experience required.	Class Number 2369	Credits 3	Department Art & Technology / Sound Practices Area of Study Art/Design and Politics, Gender and Sexuality, Collaboration, Digital Communication, Economic Inequality & Class Location MacLean 522
The Mathematical Secrets of Music	3015 (001)	Eugenia Cheng	Mon 8:30 AM - 11:15 AM In Person
Description We will study aspects of abstract mathematics as exemplified by Western Classical Music. We will look at classical music notation, notes and tonality, as well as the sounds that instruments and voices make, and at a broader scale the overall structure of pieces of music. Mathematics will be used to analyse, explain and clarify all these aspects of music. There will be a broad range of math topics from all the major branches of pure mathematics including algebra and group theory, number theory, calculus, fourier analysis and topology. These will be built up from the basics and unlike in a standard math class, the examples will all be aspects of music. The music will be western classical music including works by Bach, Schubert, Brahms, Chopin, Debussy, Stravinsky, Schoenberg, Wagner, Janacek, Shostakovich, Britten, Messiaen. Assignments will take the form of math problems, open book quizzes, application of math to analyse existing music, application of math to generate and transform original music, and reflective writing assignments. No memorisation will ever be required. Prerequisites Prerequisite: First Year English requirement.	Class Number 1677	Credits 3	Department Liberal Arts Area of Study Art and Science Location MacLean 920
The Mathematical Secrets of Music	3015 (002)	Eugenia Cheng	Mon 12:15 PM - 3:00 PM In Person
Description We will study aspects of abstract mathematics as exemplified by Western Classical Music. We will look at classical music notation, notes and tonality, as well as the sounds that instruments and voices make, and at a broader scale the overall structure of pieces of music. Mathematics will be used to analyse, explain and clarify all these aspects of music. There will be a broad range of math topics from all the major branches of pure mathematics including algebra and group theory, number theory, calculus, fourier analysis and topology. These will be built up from the basics and unlike in a standard math class, the examples will all be aspects of music. The music will be western classical music including works by Bach, Schubert, Brahms, Chopin, Debussy, Stravinsky, Schoenberg, Wagner, Janacek, Shostakovich, Britten, Messiaen. Assignments will take the form of math problems, open book quizzes, application of math to analyse existing music, application of math to generate and transform original music, and reflective writing assignments. No memorisation will ever be required. Prerequisites Prerequisite: First Year English requirement.	Class Number 1678	Credits 3	Department Liberal Arts Area of Study Art and Science Location Lakeview - 203
Advanced Footwear Design	3016 (001)	James Robert Sommerfeldt	Thurs 3:30 PM - 9:15 PM In Person
Description In an advanced exploration of footwear design and making, lectures discuss the history of shoes and boots and both historic and contemporary methods of construction. Student explore advanced pattern-making and experimental construction. Projects include footwear samples and a visual presentation of a concept with design illustrations. Prerequisites Prerequisite: FASH 2016 or instructor consent	Class Number 1362	Credits 3	Department Fashion Design Location Sullivan Center 723
Artist's Books: Unbound	3016 (001)	Anna Laure Kielman	Wed 9:00 AM - 3:00 PM In Person
Description This course will engage the artists' book through the lens of the everyday. Students will explore book forms using traditional techniques in combination with emerging technologies, as well as more experimental approaches ranging from found materials to metalworking. We will pursue numerous conditions, contemporary strategies and histories surrounding the book as an everyday object. Students will investigate the parameters of the unbound book through sequence and storytelling through space, ideas of parody/homage, palimpsests and redactions, toolkits, reliquaries, the multiple, mass production, self-publishing, appropriation, and more.	Class Number 1560	Credits 3	Department Printmedia Area of Study Books and Publishing, Comics and Graphic Novels, Community & Social Engagement Location 280 Building Rm 113
Neon Light & Ceramics	3016 (001)	Salvador Jiménez-Flores, Kacie Lees	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Neon Light & Ceramics introduces students to hybrid practices that combine neon glasswork and ceramic structures in sculptural and installation contexts. Students will learn foundational neon techniques¿glass bending, gas/voltage properties, wiring, and installation styles¿alongside ceramic methods for creating supports, housings, and interactive elements. Weekly rotations between the Neon Lab and Ceramics studios provide students with equal immersion in both materials. The course emphasizes hands-on skill building, conceptual development, and experimental applications, culminating in a final exhibition-ready neon and ceramic artwork. Through this course, students will expand their technical versatility and explore light and form as interdependent sculptural media. We will look at mid-century neon artists such as Cryssa, Lucio Fontana, Nam June Paik, and Martyelle Rayse, as well as contemporary work by Elaine Cameron Weir, Anselm Reyle, Ceryth Wyn Evans, Andrea Bowers, Shezad Dawood, Ivan Navarro, Blair Thurman, Jason Rhodes, Mary Weatherford, Glenn Ligon, Jochen Holz, Lionel Dinis Salazar and Jonathan Omar (Döppel Studio), and Demian DinéYazhi¿. Readings and selected text to include: Gyorgy Kepes¿ Light and Design, ¿Light as a Creative Medium¿ (1967); Wassily Kandinsky, ¿Psychological Workings of Color¿ (1911), and selections from Denise Scott Brown and Robert Venturi¿s Learning from Las Vegas (1972). At the end of the course, students will have conceptualized, designed, and executed an exhibition-ready neon artwork, gained a working knowledge of industry standards and installation techniques, and assessed how the medium of light functions in their artistic anthology Prerequisites Student must have completed any CER course at SAIC	Class Number 2272	Credits 3	Department Art & Technology / Sound Practices Area of Study Designed Objects, Art and Science, Sustainable Design Location MacLean B1-16, 280 Building Rm M152
Neon Light & Ceramics	3016 (001)	Salvador Jiménez-Flores, Kacie Lees	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Neon Light & Ceramics introduces students to hybrid practices that combine neon glasswork and ceramic structures in sculptural and installation contexts. Students will learn foundational neon techniques¿glass bending, gas/voltage properties, wiring, and installation styles¿alongside ceramic methods for creating supports, housings, and interactive elements. Weekly rotations between the Neon Lab and Ceramics studios provide students with equal immersion in both materials. The course emphasizes hands-on skill building, conceptual development, and experimental applications, culminating in a final exhibition-ready neon and ceramic artwork. Through this course, students will expand their technical versatility and explore light and form as interdependent sculptural media. We will look at mid-century neon artists such as Cryssa, Lucio Fontana, Nam June Paik, and Martyelle Rayse, as well as contemporary work by Elaine Cameron Weir, Anselm Reyle, Ceryth Wyn Evans, Andrea Bowers, Shezad Dawood, Ivan Navarro, Blair Thurman, Jason Rhodes, Mary Weatherford, Glenn Ligon, Jochen Holz, Lionel Dinis Salazar and Jonathan Omar (Döppel Studio), and Demian DinéYazhi¿. Readings and selected text to include: Gyorgy Kepes¿ Light and Design, ¿Light as a Creative Medium¿ (1967); Wassily Kandinsky, ¿Psychological Workings of Color¿ (1911), and selections from Denise Scott Brown and Robert Venturi¿s Learning from Las Vegas (1972). At the end of the course, students will have conceptualized, designed, and executed an exhibition-ready neon artwork, gained a working knowledge of industry standards and installation techniques, and assessed how the medium of light functions in their artistic anthology Prerequisites Student must have completed any CER course at SAIC	Class Number 2272	Credits 3	Department Art & Technology / Sound Practices Area of Study Designed Objects, Art and Science, Sustainable Design Location MacLean B1-16, 280 Building Rm M152
Neon Light & Ceramics	3016 (001)	Salvador Jiménez-Flores, Kacie Lees	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Neon Light & Ceramics introduces students to hybrid practices that combine neon glasswork and ceramic structures in sculptural and installation contexts. Students will learn foundational neon techniques¿glass bending, gas/voltage properties, wiring, and installation styles¿alongside ceramic methods for creating supports, housings, and interactive elements. Weekly rotations between the Neon Lab and Ceramics studios provide students with equal immersion in both materials. The course emphasizes hands-on skill building, conceptual development, and experimental applications, culminating in a final exhibition-ready neon and ceramic artwork. Through this course, students will expand their technical versatility and explore light and form as interdependent sculptural media. We will look at mid-century neon artists such as Cryssa, Lucio Fontana, Nam June Paik, and Martyelle Rayse, as well as contemporary work by Elaine Cameron Weir, Anselm Reyle, Ceryth Wyn Evans, Andrea Bowers, Shezad Dawood, Ivan Navarro, Blair Thurman, Jason Rhodes, Mary Weatherford, Glenn Ligon, Jochen Holz, Lionel Dinis Salazar and Jonathan Omar (Döppel Studio), and Demian DinéYazhi¿. Readings and selected text to include: Gyorgy Kepes¿ Light and Design, ¿Light as a Creative Medium¿ (1967); Wassily Kandinsky, ¿Psychological Workings of Color¿ (1911), and selections from Denise Scott Brown and Robert Venturi¿s Learning from Las Vegas (1972). At the end of the course, students will have conceptualized, designed, and executed an exhibition-ready neon artwork, gained a working knowledge of industry standards and installation techniques, and assessed how the medium of light functions in their artistic anthology Prerequisites Student must have completed any CER course at SAIC	Class Number 2273	Credits 3	Department Ceramics Area of Study Designed Objects, Art and Science, Sustainable Design Location MacLean B1-16, 280 Building Rm M152
Neon Light & Ceramics	3016 (001)	Salvador Jiménez-Flores, Kacie Lees	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Neon Light & Ceramics introduces students to hybrid practices that combine neon glasswork and ceramic structures in sculptural and installation contexts. Students will learn foundational neon techniques¿glass bending, gas/voltage properties, wiring, and installation styles¿alongside ceramic methods for creating supports, housings, and interactive elements. Weekly rotations between the Neon Lab and Ceramics studios provide students with equal immersion in both materials. The course emphasizes hands-on skill building, conceptual development, and experimental applications, culminating in a final exhibition-ready neon and ceramic artwork. Through this course, students will expand their technical versatility and explore light and form as interdependent sculptural media. We will look at mid-century neon artists such as Cryssa, Lucio Fontana, Nam June Paik, and Martyelle Rayse, as well as contemporary work by Elaine Cameron Weir, Anselm Reyle, Ceryth Wyn Evans, Andrea Bowers, Shezad Dawood, Ivan Navarro, Blair Thurman, Jason Rhodes, Mary Weatherford, Glenn Ligon, Jochen Holz, Lionel Dinis Salazar and Jonathan Omar (Döppel Studio), and Demian DinéYazhi¿. Readings and selected text to include: Gyorgy Kepes¿ Light and Design, ¿Light as a Creative Medium¿ (1967); Wassily Kandinsky, ¿Psychological Workings of Color¿ (1911), and selections from Denise Scott Brown and Robert Venturi¿s Learning from Las Vegas (1972). At the end of the course, students will have conceptualized, designed, and executed an exhibition-ready neon artwork, gained a working knowledge of industry standards and installation techniques, and assessed how the medium of light functions in their artistic anthology Prerequisites Student must have completed any CER course at SAIC	Class Number 2273	Credits 3	Department Ceramics Area of Study Designed Objects, Art and Science, Sustainable Design Location MacLean B1-16, 280 Building Rm M152
Public Sound and Space	3017 (001)	Austen Brown	Thurs 9:00 AM - 3:00 PM In Person
Description Public Sound and Space explores situating sound-based art practices, including performance and installation, into public space. Projects are conceptualized and developed in response to specific locations found in and around Chicago, determined by students in coordination with the instructor. The course examines public space and architecture through historical and contemporary sound practices, as well as the non-art uses of sound and its employment in public space. Technical workshops emphasize sound projection, acoustics, and mixing for complicated sonic environments and playback systems. In collaboration with the Public Light and Space course, students will work in pairs to mount a large-scale sound and video work to be projected onto the Merchandise Mart, a significant building in the Loop. Bi-monthly in-class meetings between Public Sound and Space and Public Light and Space will catalyze collaboration, hold technical and conceptual critiques, and accommodate workshops to address sound and image workflow. Facilitated by Art on the Mart, an art initiative presenting international artists, the work will be on view daily for 6 weeks capturing an audience of roughly 300,000 people. We will study the works of artists including Susan Philipsz, Park McArthur, Ryoji Ikeda, Cevdet Erek, and Cameron Rowland. Readings include Miwon Kwon, Niall Atkinson, and others. In addition to the collaborative Art on the Mart project, students will research, propose, and develop a public sound work in response to a site of their choosing for the final.	Class Number 2366	Credits 3	Department Art & Technology / Sound Practices Location MacLean 522
Mineralogy and Gemology	3017 (001)	Maria Valdes	Mon 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2258	Credits 3	Department Liberal Arts Location Lakeview - 1503
Multi-Level Knitwear: Machine Structures	3018 (001)	Jacques A Agbobly	Wed 9:00 AM - 3:00 PM In Person
Description This course enables students who hand knit to pursue the challenge of creating garments and/or objects with knitting machines. Through demonstration and discussion of traditional basic methods and structured exercises will give the students a foundation in various stitch patterns and techniques. Shape and fit along with texture manipulation are explored. Historical reference as well as current contemporary design concepts will be researched enabling students to focus on individual design to produce a garment or an object. Students will design, sample and explore possibilities in a traditional and non-traditional manner using various materials. Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1365	Credits 3	Department Fashion Design Location Sullivan Center 701
Advanced Artists' Books	3018 (001)	Myungah Hyon 현명아	Thurs 9:00 AM - 3:00 PM In Person
Description Advanced Artists' Books is an intermediate to advanced course for students with prior experience in bookmaking who are ready to deepen their technical skills and conceptual approaches. The class emphasizes integrating visual and written materials across sequential pages while exploring advanced binding techniques and experimental structures. Students will be challenged to pursue complex, personalized projects that require critical thinking, risk-taking, and creative use of materials. Alongside technical development, the course highlights analysis of contemporary practices in book arts and encourages students to expand their understanding of how book forms function as both artistic objects and modes of communication. Midway through the semester, students will participate in a group exhibition at the Joan Flasch Artists' Book Collection (JFABC), providing a professional platform for showcasing their work. Prerequisites Prerequisite: PRINT 2018 or PRINT 3007.	Class Number 1550	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 113
Apollo to Artemis: The Science and Exploration of the Moon	3018 (001)	Maria Valdes	Tues 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2259	Credits 3	Department Liberal Arts Location MacLean 816
Disability Studies: Re-Imagining Bodies	3018 (001)	Chun-Shan (Sandie) Yi	Mon 12:15 PM - 3:00 PM In Person
Description What is disability? How do we see, read, hear, smell and feel about disability? How does society represent disability and illness? How do artists theoretically and conceptually engage disability in their own practices? This course offers students critical thinking tools to examine the meanings of disability created by current social, cultural, economic and political systems. Over the course of the semester, students develop artistic vocabulary in relation to visual and cultural representations of disability found in mainstream society and in Disability Culture/Disability Art contexts. Readings include the following topics: disability frameworks, disability as intersectional identity, and representations in art, media, fashion, and design . Students learn about the range and complexity of disability representations through the works of contemporary artists such as Riva Lehrer, Laura Swanson, and Christine Sun Kim, and through the work of dance and performance art groups. Students also read the work of disability scholars including Carrie Sandahl, Rosemarie Garland-Thomson, Eli Clare, Alison Kafer, and Petra Kuppers. Coursework includes bi-weekly writing responses, a disability culture event paper, a media report, and a final art and writing project.	Class Number 1100	Credits 3	Department Art Therapy Area of Study Gender and Sexuality, Narrative, Politics and Activisms Location Sharp 403
Twist	3019 (001)	Jerry Bleem	Thurs 9:00 AM - 3:00 PM In Person
Description This class investigates the properties of the elemental act of twisting raw materials into pliable linear elements. Students learn to spin and ply--using drop spindles and wheels--and to extend elements through rope making and various splicing techniques. Building on this foundation, students manipulate these fibrous elements into 2- and 3-dimensional forms as well as exploring expressive possibilities, and the limits of materials and structures. Topics for reading and discussion include the development of spinning and textile production, the social and economic histories of labor, historic and contemporary art examples of spun and structured fiber, and current cultural interests in reclaiming the handmade. Course work includes reading responses, participation in discussions, assembling a set of samples, reporting on research and 3 studio projects.	Class Number 1409	Credits 3	Department Fiber and Material Studies Location Sharp 902
Tropical Ecosystems and Biodiversity	3019 (001)	Camila Pizano	Mon 8:30 AM - 11:15 AM In Person
Description This course will explore tropical ecosystems, where biological diversity peaks. The beauty and extreme variety of tropical life forms have not only provided scientists with a frontier for the discovery of new species, new drugs, etc., but have also inspired people from across disciplines. This course will provide an introduction to studies of living organisms and ecosystems in the tropics, ecological relationships among species, the influence of tropical biodiversity on different disciplines, and issues surrounding the conservation of tropical species and ecosystems. Course work 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2257	Credits 3	Department Liberal Arts Location MacLean 620
Hardware Hacking	3020 (001)	Bonnie Han Jones	Tues 9:00 AM - 3:00 PM In Person
Description This is a class is hardware hacking for audio applications (and a little video as well). No previous electronic experience is assumed. Basic soldering skills will be learned through building contact microphones and coils to sniff electromagnetic fields. We will then open up a range of battery-powered 'consumer' technology (radios, boom boxes, electronic toys), observe the effect of direct hand contact on the circuit boards, experiment with the substitution of components, and listen to unheard signals running through the circuit. Knowledge acquired through this process will be applied to building circuits from scratch (oscillators, amplifiers, fuzztones, sequencers etc.), both from documented designs and as invented by yourselves. Video and audio playback and performance as relevant to the class projects. Readings from the required textbook, Handmade Electronic Music -- The Art of Hardware Hacking. Numerous projects to be completed in and out of class; final project based on course material.	Class Number 1125	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 423
Fashion Intensive Portfolio	3021 (001)	Edgar X. Aguilera	Mon 9:00 AM - 3:00 PM In Person
Description This class focuses on the visual development of an individual fashion portfolio, culminating in a presentation on fashion design. Students learn the skills necessary in the fashion industry - how to draw technical flats, fashion illustration, and layout planning - skills through which students explore new concepts and create collections. With this industry-ready portfolio, students will have the professional body of work to compete in the rigorous and competitive field of fashion. Prerequisites FASH 2900 or Instructor Permission	Class Number 1375	Credits 3	Department Fashion Design Location Sullivan Center 723
Analog Synthesis	3021 (001)	Austen Brown	Wed 9:00 AM - 3:00 PM In Person
Description This course explores the foundations of modular analog synthesis, working hands-on with oscillators, amplifiers, and filters to create original sound works. Students will use both vintage and contemporary equipment to learn frequency and amplitude modulation, sequencing, frequency shifting, and other core processes that shaped the history of electronic music. Historical case studies situate these techniques within the work of pioneering composers such as Stockhausen, Radigue, Koenig, Subotnik, Oliveros, and Spiegel, connecting classical studio methods to contemporary practice. Weekly compositional projects encourage students to apply specific technical strategies while developing their own aesthetic approach. By the end of the course, students will have produced a portfolio of analog compositions that reflect both technical fluency and creative exploration in modular synthesis.	Class Number 1129	Credits 3	Department Art & Technology / Sound Practices Location MacLean 416
Beginning Screenwriting	3024 (001)	Raghav Rao	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.	Class Number 1421	Credits 3	Department Film, Video, New Media, and Animation Area of Study Books and Publishing, Playwriting/Screenwriting Location MacLean 517
Beginning Screenwriting	3024 (002)	Gitanjali Kapila	Fri 8:30 AM - 11:15 AM In Person
Description This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.	Class Number 1429	Credits 3	Department Film, Video, New Media, and Animation Area of Study Books and Publishing, Playwriting/Screenwriting Location MacLean 517
Experimental Mixed Reality	3025 (001)	Judd Morrissey	Tues 9:00 AM - 3:00 PM In Person
Description Experimental Mixed Reality explores how virtual and sensory media transform physical space through mobile devices, head-mounted displays, and other spatial computing technologies. Students experiment with artistic strategies for augmenting bodies, objects, and environments, revealing hidden dimensions and choreographing hybrid encounters. The course emphasizes experimental and DIY approaches to mixed reality, introducing accessible creative coding, web-based tools, and 3D scanning alongside selective use of commercial platforms. Projects may include site-responsive augmented reality, virtual environments, or performances and installations that move between physical and virtual space. Mixed reality practices are situated within contemporary art through artists such as Mark Skwarek, Nancy Baker Cahill, Tamiko Thiel, Tender Claws, and Claudia Hart. No prior experience with mixed reality or coding is required.	Class Number 2190	Credits 3	Department Art & Technology / Sound Practices Area of Study Game Design, Art and Science, Social Media and the Web Location MacLean 402
Lit Art: Literary styles of describing, interpreting, and explaining works of art.	3025 (001)	David Raskin	Thurs 12:15 PM - 3:00 PM In Person
Description This museum-based seminar welcomes writers of all kinds, including creative writers, critics, and scholars. We explore literary forms, including poetry, short stories, personal essays, plays, and songs, along with their connections to visual art at the Art Institute of Chicago. Each week, we analyze literary pieces inspired by a work of art and then visit the museum to discuss that art in person. We will examine how the readings enhance or challenge the artwork and debate the impact of the words and images. Additionally, we will hold weekly writing workshops to provide feedback on each other¿s work, focusing on prompt-based assignments that directly engage with the art in the collection while developing both visual acuity and writing craft skills. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1080	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality, Class, Race, Ethnicity, Museum Studies Location MacLean 707
The Art of Nonviolence	3025 (001)	Suellen Semekoski	Tues 3:30 PM - 6:15 PM In Person
Description This course explores nonviolence through the nexus of contemplative reflection and people powered direct action. Research includes identifying personal, local and global exemplars of creative nonviolence through arts based inquiry. The history of nonviolence, the role of arts in nonviolent movements, mindfulness practices and nonviolent communication are foundations for the culminating project of the class. Students will engage in shared collaboration of artistic practices with an existing social action group in exploring love and protection or Gandhi?s soul force or Satyagraha. Prerequisites Prerequisite: Must have completed one Art Therapy, Art Ed or Artsad class prior to enrolling.	Class Number 1098	Credits 3	Department Art Therapy Area of Study Collaboration, Interaction and Participation, Politics and Activisms Location Sharp 403
Electronic Textiles and the Body	3026 (001)	Christine Anne Shallenberg, Anke Loh	Fri 9:00 AM - 3:00 PM In Person
Description Through lectures, readings and demos this studio class will focus on the use of e-textiles in art, design and fashion, with a focus on user-centered design, fashion applications, and embodied, tactile and sensory e-textiles with the potential for therapeutic, stimulating and engaging applications. Topics will include different types of sensing systems for stretchable/flexible/soft textiles with compatible sensors and electronics, as well as the opportunities and challenges of e-textiles in the areas of fashion and interior design. The class will cover reliability, sustainability and future trends. Professional practice field trips within the Chicago region will cover developing ventures in technology, art or wearables. Students will be introduced to techniques for building electronic components using non-traditional and soft materials and programming for Arduino to integrate sensors into expressive forms, expand their understanding of wearable technology history through readings and artists working at the intersection of technology and the body and improve their ability to synthesize ideas and to see a project through from research to final presentation and to consider the best form of presentation. Readings, lectures and screenings will vary. Example of suggested readings: Haptics by Lynette Jones, 2018 Smart Textiles: fundamentals, design, and interaction by Stefan Schneegass (University of Stuttgart) and Oliver Amft (University of Passau), 2017 Crafting Wearables: blending technology with fashion by Sibel Deren Guler, et al., 2016 Wearing Embodied Emotions: a practice based design research on wearable technology by Secil Ugur, 2013 Course work includes weekly reading responses, a mid-term, and a final project. Students can expect to produce a body of work consisting of 3-5 finished pieces during the semester. Departmental consent required: junior level and up preferred. Please send brief paragraph why you wish to take this course, portfolio 5-10 images of work relevant to this class, and a list of classes you have taken in fashion and/ or art & technology.	Class Number 2219	Credits 3	Department Fashion Design Area of Study Costume Design, Community & Social Engagement, Art and Science Location MacLean 423
Electronic Textiles and the Body	3026 (001)	Christine Anne Shallenberg, Anke Loh	Fri 9:00 AM - 3:00 PM In Person
Description Through lectures, readings and demos this studio class will focus on the use of e-textiles in art, design and fashion, with a focus on user-centered design, fashion applications, and embodied, tactile and sensory e-textiles with the potential for therapeutic, stimulating and engaging applications. Topics will include different types of sensing systems for stretchable/flexible/soft textiles with compatible sensors and electronics, as well as the opportunities and challenges of e-textiles in the areas of fashion and interior design. The class will cover reliability, sustainability and future trends. Professional practice field trips within the Chicago region will cover developing ventures in technology, art or wearables. Students will be introduced to techniques for building electronic components using non-traditional and soft materials and programming for Arduino to integrate sensors into expressive forms, expand their understanding of wearable technology history through readings and artists working at the intersection of technology and the body and improve their ability to synthesize ideas and to see a project through from research to final presentation and to consider the best form of presentation. Readings, lectures and screenings will vary. Example of suggested readings: Haptics by Lynette Jones, 2018 Smart Textiles: fundamentals, design, and interaction by Stefan Schneegass (University of Stuttgart) and Oliver Amft (University of Passau), 2017 Crafting Wearables: blending technology with fashion by Sibel Deren Guler, et al., 2016 Wearing Embodied Emotions: a practice based design research on wearable technology by Secil Ugur, 2013 Course work includes weekly reading responses, a mid-term, and a final project. Students can expect to produce a body of work consisting of 3-5 finished pieces during the semester. Departmental consent required: junior level and up preferred. Please send brief paragraph why you wish to take this course, portfolio 5-10 images of work relevant to this class, and a list of classes you have taken in fashion and/ or art & technology.	Class Number 2219	Credits 3	Department Fashion Design Area of Study Costume Design, Community & Social Engagement, Art and Science Location MacLean 423
Experimental Film and Video Narrative	3026 (001)	Melika Bass	Tues 9:00 AM - 3:00 PM In Person
Description This course is a production class designed for students interested in alternative modes of narrative production in film and Video. Through workshops on writing, acting, and directing, students learn to work with actors, dialogue, and alternative narrative structures. Students apply the concepts covered in class to their selected projects, from production through editing. Throughout the course, a wide range of narrative films utilizing experimental modes of production are screened. Technical issues are covered in cinematography workshops, but it is assumed that students have a solid technical grounding in their medium of choice. Though the body of this class focuses on film and video production, the class is also appropriate for students working in performance and sound. Prerequisites Prerequisite: FVNM 2005, 3003 or 5020	Class Number 1449	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 1408
Electronic Textiles and the Body	3026 (001)	Christine Anne Shallenberg, Anke Loh	Fri 9:00 AM - 3:00 PM In Person
Description Through lectures, readings and demos this studio class will focus on the use of e-textiles in art, design and fashion, with a focus on user-centered design, fashion applications, and embodied, tactile and sensory e-textiles with the potential for therapeutic, stimulating and engaging applications. Topics will include different types of sensing systems for stretchable/flexible/soft textiles with compatible sensors and electronics, as well as the opportunities and challenges of e-textiles in the areas of fashion and interior design. The class will cover reliability, sustainability and future trends. Professional practice field trips within the Chicago region will cover developing ventures in technology, art or wearables. Students will be introduced to techniques for building electronic components using non-traditional and soft materials and programming for Arduino to integrate sensors into expressive forms, expand their understanding of wearable technology history through readings and artists working at the intersection of technology and the body and improve their ability to synthesize ideas and to see a project through from research to final presentation and to consider the best form of presentation. Readings, lectures and screenings will vary. Example of suggested readings: Haptics by Lynette Jones, 2018 Smart Textiles: fundamentals, design, and interaction by Stefan Schneegass (University of Stuttgart) and Oliver Amft (University of Passau), 2017 Crafting Wearables: blending technology with fashion by Sibel Deren Guler, et al., 2016 Wearing Embodied Emotions: a practice based design research on wearable technology by Secil Ugur, 2013 Course work includes weekly reading responses, a mid-term, and a final project. Students can expect to produce a body of work consisting of 3-5 finished pieces during the semester. Departmental consent required: junior level and up preferred. Please send brief paragraph why you wish to take this course, portfolio 5-10 images of work relevant to this class, and a list of classes you have taken in fashion and/ or art & technology.	Class Number 2203	Credits 3	Department Art & Technology / Sound Practices Area of Study Costume Design, Community & Social Engagement, Art and Science Location MacLean 423
Origin and Evolution of the Solar System	3026 (001)	Maria Valdes	Fri 12:15 PM - 3:00 PM 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. Prerequisites Prerequisite: First Year English requirement.	Class Number 2260	Credits 3	Department Liberal Arts Location MacLean 608
Electronic Textiles and the Body	3026 (001)	Christine Anne Shallenberg, Anke Loh	Fri 9:00 AM - 3:00 PM In Person
Description Through lectures, readings and demos this studio class will focus on the use of e-textiles in art, design and fashion, with a focus on user-centered design, fashion applications, and embodied, tactile and sensory e-textiles with the potential for therapeutic, stimulating and engaging applications. Topics will include different types of sensing systems for stretchable/flexible/soft textiles with compatible sensors and electronics, as well as the opportunities and challenges of e-textiles in the areas of fashion and interior design. The class will cover reliability, sustainability and future trends. Professional practice field trips within the Chicago region will cover developing ventures in technology, art or wearables. Students will be introduced to techniques for building electronic components using non-traditional and soft materials and programming for Arduino to integrate sensors into expressive forms, expand their understanding of wearable technology history through readings and artists working at the intersection of technology and the body and improve their ability to synthesize ideas and to see a project through from research to final presentation and to consider the best form of presentation. Readings, lectures and screenings will vary. Example of suggested readings: Haptics by Lynette Jones, 2018 Smart Textiles: fundamentals, design, and interaction by Stefan Schneegass (University of Stuttgart) and Oliver Amft (University of Passau), 2017 Crafting Wearables: blending technology with fashion by Sibel Deren Guler, et al., 2016 Wearing Embodied Emotions: a practice based design research on wearable technology by Secil Ugur, 2013 Course work includes weekly reading responses, a mid-term, and a final project. Students can expect to produce a body of work consisting of 3-5 finished pieces during the semester. Departmental consent required: junior level and up preferred. Please send brief paragraph why you wish to take this course, portfolio 5-10 images of work relevant to this class, and a list of classes you have taken in fashion and/ or art & technology.	Class Number 2203	Credits 3	Department Art & Technology / Sound Practices Area of Study Costume Design, Community & Social Engagement, Art and Science Location MacLean 423
Head Space:Advanced Millinery	3027 (001)	Eia Radosavljevic	Wed 9:00 AM - 3:00 PM In Person
Description Hats are conceptually powerful and visually important in both fashion design and performance. In this advanced course, headwear methodologies are explored through the challenges of wearable volume, relation of designed object to head, and couture-level workmanship, while underlying concept, innovative design, and technical dexterity are simultaneously stressed. A series of traditional hat-making techniques, e.g., wire-framing, blocking and draping, are explored and then expanded upon through alternative methods and materials to create wearable forms. Questions regarding the function and relevance of fashion and headwear, and their potential for interdisciplinary contextualization help drive students¿ design development. Select texts by authors such as Ann Albrizio, Susan Heiner, Stephen Jones, Simon Kelly, and Howard Risatti, may be included for further information. Works by historical and contemporary milliners like Solange de Fabry, Stephen Jones, Philip Treacy, and Madame Paulette provide context and inspiration, along with films and videos that highlight or explore headwear. Students with an interest in object design, sculptural practices or other making processes and disciplines are also welcomed with permission from the instructor. The semester culminates in SAIC¿s annual Headwear Awards judging. Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1363	Credits 3	Department Fashion Design Location Sullivan Center 727
Handmade Cinema	3027 (001)	Tatsu Aoki	Mon 9:00 AM - 3:00 PM In Person
Description Filmmakers often run into a problem of depending too much on equipment. This makes one believe that it is impossible to be creative without elaborate 'tools.' Artists of film can produce images in any circumstance-with or without complicated tools. If a filmmaker understands the process and mechanism of how images can be generated, equipment can be as minimal as one paper clip. This class is designed to introduce a variety of skills and ideas to make images with simple tools. Students are encouraged to make their own equipment to produce their own image effects. The course mainly focuses on reproduction of images without using large equipment. Some of the ideas introduced in this course are making images without camera and/or lenses; animation; pixilation; time exposure; time lapse; images using slides, stills, and newspapers; all phases of in-camera effects; rephotographing frames; printing in camera; optical printing; and contact printing. Prerequisites FVNM 2000 or FVNM 5020	Class Number 1430	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging Location MacLean 1408
The Unpainted Picture	3028 (001)	Diana Guerrero-Maciá	Mon 9:00 AM - 3:00 PM In Person
Description This studio course will consider how to compose a picture plane with a variety of materials including paper collage, fabric piecing, applique, heat press, direct dye application and other handwork, to create line and form. Students will make use of drawing and form invention methods including stitching and dying, in conjunction with, or in place of, painted surfaces. Projects and critiques will address the critical use of compositional elements and materials within the picture plane.	Class Number 1403	Credits 3	Department Fiber and Material Studies Location Sharp 904
Chemical Aftertaste: reactive processes for screen printing	3029 (001)	Christine Tarkowski	Tues 9:00 AM - 3:00 PM In Person
Description In this class, students will learn reactive processes for use in screen printing on fabric and pliable materials. Reactive processes are those that will chemically or physically alter the nature of the printed cloth and include; fiber reactive dyes, devoré or the burning away of fibers, bleaching and removing of color, and the sublimation of color from one surface to another. Screen printing will be the primary method of creating works, yet a broad disciplinary approach is encouraged. Assignments will be framed to address concepts of alchemy and instability, and include readings of works by; Georges Bataille, Anthony Vidler, Luce Irigaray, Yve-Alain Bois and Rosalind Krauss. Students will create three studio intensive projects for class critiques. Prior screen printing experience is recommended.	Class Number 1413	Credits 3	Department Fiber and Material Studies Location Sharp 905
Soft Goods and Objects Studio	3029 (001)		Mon 9:00 AM - 3:00 PM In Person
Description This advanced studio investigates the design and construction of soft objects, a category spanning softgoods, upholstery, and experimental forms. Students will explore how textiles, padding, and flexible materials shape products for the body, home, and space. Techniques include pattern drafting, sewing, upholstery methods, stuffing, quilting, and bonding, paired with analog and digital workflows for prototyping. Weekly workshops build technical fluency, while studio projects challenge students to apply these skills toward both functional and speculative outcomes. In addition, the course provides a snapshot of how softgoods are developed in the design and fashion industries, examining methods of branding, production, and consumption. Students will also consider how these systems influence design practice today. The semester is structured around two main projects: the first focuses on a softgood or body-related object, while the second scales up to a furniture or spatial soft object, or an experimental hybrid that expands the role of softness in design. This studio elective is intended for design-focused sophomores and above, who have taken design-related courses. The projects will be developed with portfolio presentation in mind. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 2216	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Designed Objects, Furniture Design, Product Design Location Sullivan Center 1230
From Natural Pigments to Structural Coloration	3029 (001)	Jan Tichy	Tues 9:00 AM - 3:00 PM In Person
Description Color is essential for artists and designers, carrying meaning and shaping choices in materials, techniques, and combinations. This course delves into color's physicochemical properties and its impact on light and human perception. Each session merges color theory with hands-on creative experimentation. Participants will explore color sources from plants, minerals, animals, and synthetic materials, applying them to diverse surfaces to transform their meaning. Led by artist Jan Tichy and scientist Maria Boto, the course fosters creative growth by blending theoretical and scientific insights into color, broadening the scope of artistic research and conceptual color exploration. This course will introduce artists and designers renowned for their use of specific coloring techniques, situating their work within a broader historical context. We will explore how contemporary creators, such as Atelier NL, have revived traditional coloring methods, while others, like Faber Futures, are pioneering the use of innovative materials. Additionally, we will examine the work of artists like Ann Veronica Janssens and Olafur Eliasson, whose practices focus on manipulating viewers' perception of color. The exploration of structural colors will begin with the traditional use of natural elements, such as feathers and insects, seen in the work of artists like Jan Fabre and Damien Hirst, and extend to cutting-edge innovations in color nanotechnology, exemplified by artists such as Anish Kapoor. As a visiting artist, we would like to invite Matthew Schreiber, who worked at Holographic Images after studies of holography at the School of the Art Institute of Chicago and the Royal College of Art in London, to talk to the students about use of holography in contemporary art. Coursework will be based on weekly assignments involving readings and self-reflection on specific aspects of color. Students will actively apply their newly acquired knowledge to their experimental assignments. They will be encouraged to integrate the tools and concepts learned into their own practice, gradually developing a final project.	Class Number 2187	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location Michigan B1-19
Figure Painting A: Multi-Level	3030 (001)	Larissa Setareh Borteh	Mon 9:00 AM - 3:00 PM In Person
Description This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint. Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. Prerequisites Prerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030.	Class Number 1627	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 320
Installation Art	3030 (001)	Juan Angel Chavez	Mon 9:00 AM - 3:00 PM In Person
Description This course is a structural and poststructural investigation of sculptural site activation. The students explore the theory and practice of how work gets contextualized and redefined through its placement within a larger social, political, and economic sphere of meaning. Students investigate options and determinants operative in both indoor and outdoor sites, installations, and environments. Although the focus of the class is contemporary, topics of discussion range from Rodin's Burghers of Calais to the public projections of Krzysztof Wodiczko. An indoor space is available for student use and cooperative interaction is encouraged. Prerequisite: intermediate level work in any media or consent of instructor.	Class Number 1715	Credits 3	Department Sculpture Area of Study Community and Social Practice, Interaction and Participation, Public Space, Site, Landscape, Public Space, Site, Landscape Location 280 Building Rm 127
Figure Painting A: Multi-Level	3030 (002)	Melinda Whitmore	Thurs 9:00 AM - 3:00 PM In Person
Description This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint. Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. Prerequisites Prerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030.	Class Number 1664	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 315
Figure Painting A: Multi-Level	3030 (003)	Herman Aguirre	Fri 9:00 AM - 3:00 PM In Person
Description This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint. Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. Prerequisites Prerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030.	Class Number 1669	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 320
Figure Painting A: Multi-Level	3030 (004)	Caitlin Cherry	Thurs 3:30 PM - 9:15 PM In Person
Description This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint. Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. Prerequisites Prerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030.	Class Number 2356	Credits 3	Department Painting and Drawing Area of Study Comics and Graphic Novels, Illustration Location 280 Building Rm 320
Reality TV	3031 (001)	Maire Witt O'Neill	Fri 9:00 AM - 3:00 PM In Person
Description This course will explore the cultural significance, repercussions and influence that Reality TV has had on society, art and entertainment. Through theoretical, analytical and experimental approaches we will investigate Reality TV¿s as both inspiration and opposition. This course will focus on performance utilizing the trappings of Reality TV, performance for the camera, performance and cultural studies and citational video performance.	Class Number 2266	Credits 3	Department Performance Location 280 Building Rm 012
Fig Ptg B:The Portrait	3031 (001)	Anne Harris	Wed 9:00 AM - 3:00 PM In Person
Description This is an intermediate/advanced class that will function both as studio course and in-depth conversation. Students will work on individual projects and will participate in group critique/discussion. Skill sets will be addressed as needed (the form of the head, likeness, etc.). Through painting and drawing, we'll consider the portrait as a traditional and contemporary art form, from perceptual to conceptual to political. Questions to consider: What is a portrait today? Is it likeness? Character? Caricature? An individual presence? Must it even be figurative? We'll look at and learn from a broad range of work, from ancient to contemporary, via lectures and museum visits, including the AIC Prints and Drawings viewing room. We'll discuss hundreds of artists from prehistoric to Renaissance to modernist to contemporary--as varied as Kathe Kollwitz, Ana Mendieta, Felix Gonzalez-Torres and Nathaniel Mary Quinn. Readings and related materials are suggested when relevant (articles, interviews, Ted Talks, etc.) The first 1/3 of the course covers basic skill sets: head structure, color organization, etc. We then move into independent projects. There are regular outside assignments. Prerequisites Prerequisite: PTDW 3030.	Class Number 1643	Credits 3	Department Painting and Drawing Location 280 Building Rm 320
Plants and People	3031 (001)	Camila Pizano	Tues 8:30 AM - 11:15 AM In Person
Description Plants dominate the world and have determined human history since the first origins of our species. In fact, although we talk about ¿plant domestication¿, some may argue that plants have domesticated us humans to their own benefit. This course explores how plants have deeply influenced our lives for thousands of years. We explore the structure and function of main plant groups, plant evolution and domestication, human nutrition and agriculture, commercial products derived from plants and fungi, and their role in human health and the environment. Topics include how plants spice up our lives from flavors to colors, heal, poison, feed and inspire our music, art and literature. There will be required field trips to The Field Museum, Lurie Garden and The Chicago Botanic Garden. One textbook (Plants and Society) and a popular science book (The Botany of Desire) will be required, but other sources (videos, scientific journal articles, podcasts, etc.) will be used as course materials. Course work includes discussion, worksheets, quizzes, online videos and readings (textbook excerpts, magazine, journal and newspaper articles, book chapters, interviews), as well as talks by invited speakers.	Class Number 2280	Credits 3	Department Liberal Arts Location Lakeview - 1503
Africa and West Asia: Decolonization and Art	3031 (001)	Tina Barouti	Fri 3:30 PM - 6:15 PM All Online
Description What is artistic decolonization? How can art be used as a tool for decolonizing culture? In this course, students will explore ways of approaching these questions through specific case studies that look at artistic practices of Africa and West Asia (Middle East), particularly from the mid-twentieth century to the present. Together we will examine how colonialism affected fine arts pedagogy and the response of visual artists, both modern and contemporary, to this violent encounter. We will analyze how artists engaged with multidisciplinary networks working across ¿non-Western¿contexts to reclaim their identity from colonizers and to envision alternative futures. Students will explore how art is intertwined with socio-political issues and how it can amplify Indigenous, feminine, and queer perspectives. Each week will typically focus on an artistic group or a country-specific case study from Africa and West Asia (Middle East). There will be several guest lectures by curators, academics, and artists. Course work will include written weekly responses to assigned readings, presentations, and a final essay or exhibition project proposal. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1053	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Class, Race, Ethnicity, Museum Studies Location Online
Fig Ptg B:Photo to Memory	3031 (002)	MaryLou Zelazny	Mon 9:00 AM - 3:00 PM In Person
Description Figure painters have used photographs since its invention, using it as an efficient recording tool. This multi-level class seeks to examine the role photography plays as a source for subjects, while assessing its strengths and limitations as opposed to pre-photographic traditional methods. Students will learn how to select essential information from observation to deepen their use of photography, as well as sharpen their ability to recreate visual information from daily memory drawing exercises. Students will work on painting projects focusing on three main themes; observation of the model, photographs, and recalled memory studies, culminating in an independent final project using all of the presented approaches. The concentration on blended visual inspirations helps students identify their strengths and fosters the development of their chosen subject matter. The class seeks to give students the tools needed to develop and sustain a body of work outside of the classroom environment. Students complete six paintings in class, produce daily memory sketches, and submit one final project. Painting and drawing techniques are reviewed alongside each project, accommodating all levels of experience. Daily lectures and demonstrations clearly outline the technical approaches of each project. Examples from art history and contemporary art will be shown for each area of focus through the lectures and bi-weekly visits to view reference material in the Ryerson Library. Additionally, we will use the museum, the Joan Flasch Artists Book Collection and related local exhibitions for examples and research. Prerequisites Prerequisite: PTDW 3030.	Class Number 1670	Credits 3	Department Painting and Drawing Location 280 Building Rm 315
Programming Video Systems	3032 (001)	James Connolly	Fri 9:00 AM - 3:00 PM In Person
Description Programming Video Systems introduces students with film, video, new media, and/or animation practices to the node-based development platforms TouchDesigner and Max/MSP/Jitter. Emphasis will be placed on video creation and manipulation, with the ability to incorporate unique and original generative video, video effects, highly controllable dynamic 3d rendering environments, and unique control interfaces that push the video medium in new directions. Historical and contemporary examples of artists building their own custom video systems will inform class projects, with an emphasis on critical approaches to constructing unique and original systems rather than using commercially made, non-customizable tools and software. Programming and coding languages will be introduced through a series of beginner and intermediate workshops, along with artist-made example patches, allowing students to develop the skills necessary to build their own advanced, custom software that expands their specific practice in new directions. Students will gain skills to incorporate cutting-edge digital aesthetics into single-channel cinematic or experimental videos, installations, performances, interactive systems, custom software/artware, and more, with custom workshops to assist in the successful completion of independently driven final projects. Prerequisites Prerequisite: FVNM 2100	Class Number 2128	Credits 3	Department Film, Video, New Media, and Animation Area of Study Collaboration, Digital Imaging, Interaction and Participation, Public Space, Site, Landscape Location MacLean 807
Stitch-by-Stitch: Feminism as Practice	3032 (001)	Savneet K Talwar	Tues 8:30 AM - 11:15 AM In Person
Description This interdisciplinary course considers the topic of craft practices and the therapeutic through the lens of feminist pedagogy, including theories of touch and interembodiment. Students will examine the critical role craft and the domestic arts have played in raising questions surrounding feminism, gender, and labor practices in everyday histories. The course examines local and international projects centering on memory, trauma and collaboration. The class will explore the ethics of community collaborations and how the practice of making can cultivate a sense of community, well-being, and social capital.	Class Number 1097	Credits 3	Department Art Therapy Area of Study Gender and Sexuality, Community & Social Engagement Location Sharp 404
Visualization and Storyboarding	3033 (001)	Shelley Lynn Dodson	Mon/Wed 6:45 PM - 9:15 PM In Person
Description This class focuses on the study of film language, shot composition and idea development for time based media. Through the creation of storyboards, animatics, mood boards, character designs, and concept development students gain a thorough understanding of how to develop their ideas in the pre-preproduction process. Students who work in film, video, performance, and animation will learn narrative and experimental methods. Practical, conceptual and artistic topics will be addressed. A variety of short films and excerpts from live action films or animations will be shown in class, like work by Brad Bird or independent filmmakers like Emma De Swaef and Marc James Roels. Reading excerpts on composition, editing and storyboarding will be assigned. Coursework may vary but typically includes drawing character designs and storyboards, making animatics and some reading through weekly or bi-weeklt assignments. The final project involves concept development and a presentation, followed by a final animatic with sound. Prerequisites Prerequisite: FVNM 2000 or FVNM 2420 or FVNM 5020	Class Number 1425	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 314
Air, Fluid and Actuators	3033 (001)	Dan Miller	Wed 9:00 AM - 3:00 PM In Person
Description This kinetics course will explore the activation of art projects with materials that flow, inflate, pump, pour and move in unique ways. Demonstrations will introduce: basic electronics, pneumatics, air-muscles, inflatables, pumps, motors, actuators and the necessary means to power these devices. This course will explore materials and their unique properties when activated by these processes. Students will learn various techniques to animate and control art projects, including the use of the Arduino micro-controller and sensors. Throughout the course, screenings and readings will introduce students to artists who work with kinetics, robotics and related fields. Artists shown and discussed in class include: Theo Jansen, Rapheal Lozano-Hemmer, Chico Mac Murtrie, Rebecca Horn. Students will be introduced to organizations, galleries and networks that support this type of art work including ARS Electronica, Rhizome and Bitforms gallery. A series of workshops and smaller assignments will expose students to the potentials of these devices and processes in art making. Next, students will develop projects that utilize one or more of the systems covered in class. Students will be guided in project proposal development where ideas will be explored in group discussions. Mechanical and electronic fabrication techniques will be further explored through project development. Completed projects will be evaluated in group critiques.	Class Number 1126	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location MacLean B1-07
Visualization and Storyboarding	3033 (002)	Sara Payne	Mon 9:00 AM - 3:00 PM In Person
Description This class focuses on the study of film language, shot composition and idea development for time based media. Through the creation of storyboards, animatics, mood boards, character designs, and concept development students gain a thorough understanding of how to develop their ideas in the pre-preproduction process. Students who work in film, video, performance, and animation will learn narrative and experimental methods. Practical, conceptual and artistic topics will be addressed. A variety of short films and excerpts from live action films or animations will be shown in class, like work by Brad Bird or independent filmmakers like Emma De Swaef and Marc James Roels. Reading excerpts on composition, editing and storyboarding will be assigned. Coursework may vary but typically includes drawing character designs and storyboards, making animatics and some reading through weekly or bi-weeklt assignments. The final project involves concept development and a presentation, followed by a final animatic with sound. Prerequisites Prerequisite: FVNM 2000 or FVNM 2420 or FVNM 5020	Class Number 1443	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 314
Multiples Studio	3034 (001)	Jess Giffin	Wed 9:00 AM - 3:00 PM In Person
Description This interdisciplinary studio class investigates the intersection of printmedia, artists¿ multiples and packaging as an entry point into making and thinking about multiples as a format for studio production. The history of artists¿ multiples (loosely defined as small-scale editioned or multiply produced three-dimensional works) includes many examples that use, or appropriate, printed elements and packaging in some way. This history, along with our daily experience of packaging (the many boxes, folders, labels, pamphlets, flyers and cartons found in nearly every aspect of contemporary life) offers a wealth of connections to consider and work from. Students will be introduced to a range of printing and paper construction techniques within the Printmedia studio. These include hand-drawn and digital plate lithography, pattern layout and construction for packaging along with other selected tools and techniques. In addition, students will have the opportunity to use SAIC labs such as the Service Bureau and digital fabrication centers. Examples of multiples, short readings, and a visit to the Joan Flasch or other related collections will support project development and discussion. Students can expect to complete three to four projects and participate in two critiques.	Class Number 1551	Credits 3	Department Printmedia Area of Study Product Design Location 280 Building Rm 221
Multiples Studio	3034 (001)	Jess Giffin	Wed 9:00 AM - 3:00 PM In Person
Description This interdisciplinary studio class investigates the intersection of printmedia, artists¿ multiples and packaging as an entry point into making and thinking about multiples as a format for studio production. The history of artists¿ multiples (loosely defined as small-scale editioned or multiply produced three-dimensional works) includes many examples that use, or appropriate, printed elements and packaging in some way. This history, along with our daily experience of packaging (the many boxes, folders, labels, pamphlets, flyers and cartons found in nearly every aspect of contemporary life) offers a wealth of connections to consider and work from. Students will be introduced to a range of printing and paper construction techniques within the Printmedia studio. These include hand-drawn and digital plate lithography, pattern layout and construction for packaging along with other selected tools and techniques. In addition, students will have the opportunity to use SAIC labs such as the Service Bureau and digital fabrication centers. Examples of multiples, short readings, and a visit to the Joan Flasch or other related collections will support project development and discussion. Students can expect to complete three to four projects and participate in two critiques.	Class Number 1281	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location 280 Building Rm 221
Top: Rethink, Reuse and Recycle Ceramics	3035 (001)	Marie Herwald Hermann	Wed 9:00 AM - 3:00 PM In Person
Description The characteristics and implications of clay in all its states-dry, plastic, readymade, and so on-are explored in an advanced conceptual context. This course examines the subjective role of materiality. Expanding the language of clay, and the approaches to it via nonconventional methods of manufacture and installation, the involvement of recycling/ repurposing found ceramic objects and material will be the intent of the class. Some of the artist we will be looking at are Breanda Tang, Phoebe Cummings, Morel Doucet, Caroline Slotte, Magdolene Dykstra and Kjell Rylander	Class Number 2086	Credits 3	Department Ceramics Location 280 Building Rm M152
Top: Musical Clay	3035 (002)	Liz McCarthy	Mon 9:00 AM - 3:00 PM In Person
Description Each semester this course addresses a specific aesthetic concern pertinent to contemporary ceramic art. Rotating through the faculty, each professor chooses a theme for his/her course. Topics may include Politics, Community, Audience; Gender; The Diminutive Object; The Raw and the Wet: Clay Material Meaning and Experimentation; Time and Place; etc. Please see topic description for specific term information.	Class Number 1181	Credits 3	Department Ceramics Location 280 Building Rm M153
Sensitivity & Exposure: Concepts and Techniques in Light Based Printing	3036 (001)	Jan Tichy	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Sensitivity & Exposure explores the intersection of photography and printmaking through concepts and processes activated by pressure and light. Students develop technical skills while considering print as a site-responsive medium¿sensitive to contact, light, time, material, and context. Beginning with embossing and frottage, the course moves through cyanotype and gelatin silver printing to digital fabrication, laser-engraved linoleum blocks, and photogravure, with each process building conceptually and materially on the previous one. Historical and contemporary artists provide critical frameworks for examining indexicality, contact, transfer, exposure, and reproduction. Through projects, experimentation, readings, and critiques, students learn to use these processes in support of their artistic ideas. The summer session focuses intensively on cyanotype and photogravure.	Class Number 2135	Credits 3	Department Photography Area of Study Digital Imaging, Art and Science Location 280 Building Rm 203, 280 Building Rm 215
Cloth at Scale	3036 (001)	Emily Winter	Fri 9:00 AM - 3:00 PM In Person
Description This intensive studio course focuses on planning, experimentation, and production of woven works on traditional floor looms, computer-interfaced looms, and semi-industrial Dobby looms housed between the weaving studios in Fiber and Material Studies and The Weaving Mill (TWM), an artist-run industrial weaving studio in Humboldt Park which blends design, production, textile education and research-based practice. This course introduces students to experimental weaving designs, unconventional methods and materials, and the opportunity to produce their ideas at scale with access to the fully mechanized Dobby looms at The Weaving Mill. Students will engage in rigorous studio practices, material culture research, and practical applications of their work. While conceptual questions around making will be central to the coursework, students will also be supported in identifying and researching the socio-economic and political ramifications of working in the language of woven cloth. Readings may include works by Hito Steryl, Rosalind Krauss, Jen Hewett, Anni Albers, T¿ai Smith, Peter Stallybrass, Karl Marx. Over the course of the semester, students will produce a range of individually-motivated woven samples and studies, eventually working within the production parameters of the industrial looms at TWM to design and produce yardage for installation, object design, and artists¿ projects. Additionally, students will work alongside members of the W.E.F.T. program, a textile studio for adults with developmental disabilities run by TWM, broadening discussions around labor, value, ability and access	Class Number 1408	Credits 3	Department Fiber and Material Studies Area of Study Art/Design and Politics, Community & Social Engagement, Sustainable Design Location Sharp 1011
3D Character Animation	3036 (001)	Nick Flaherty	Wed 9:00 AM - 3:00 PM In Person
Description In this course, students will use 3D software to animate characters for narrative and non narrative films. Lectures and discussions will focus on both traditional and less-than-traditional 3D character pipeline with a strong emphasis on Character and Acting. Screenings will include a variety of films utilizing 3D character and puppet animation, especially those with exceptional use of personality and performance. Filmmakers screened include: Aaron and Amanda Kopp; Géraldine Gaston; Nikita Diakur. After a brief introduction to the fundamentals of the software (Maya), students will work on multiple short projects designed to develop skills as 3D character animators including those pushing strong animation mechanics and dialogue. These early animations will be critiqued rigorously. Projects will engage students as animators and actors, and will include a final project that focuses on creating engaging animation for a longer piece. Prerequisites Prerequisite: FVNM 2015	Class Number 1442	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Comics and Graphic Novels, Digital Imaging, Game Design Location MacLean 917
Sensitivity & Exposure: Concepts and Techniques in Light Based Printing	3036 (001)	Jan Tichy	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Sensitivity & Exposure explores the intersection of photography and printmaking through processes activated by pressure and light. Students develop technical skills while approaching print as a site-responsive medium¿sensitive to contact, light, time, material, and context. Beginning with embossing and frottage, students consider pressure as a means of recording the scale, texture, and topography of objects, surfaces, and sites. These direct forms of contact introduce questions of indexicality and documentation that carry into cyanotype and gelatin silver printing, where photosensitive materials replace physical pressure as a means of registering objects, surfaces, duration, and space. Building on these analogue processes, students use digital fabrication to translate photographic images into laser-engraved linoleum blocks and photogravure plates, extending questions of exposure and reproduction into relief and intaglio printing. Historical and contemporary artists provide critical frameworks for considering how these techniques developed and how their material and conceptual possibilities matter today. Jennifer L. Roberts¿s Contact: Art and the Pull of Print provides a key framework for examining contact, transfer, pressure, reversal, and reproduction across photography and printmaking. The course combines demonstrations, studio experimentation, projects, readings, discussions, and critiques. The summer session is offered as an intensive, lab-based version focused on two processes: cyanotype and photogravure.	Class Number 2267	Credits 3	Department Printmedia Area of Study Digital Imaging, Art and Science Location 280 Building Rm 203, 280 Building Rm 215
Sculptural Basket Weaving	3037 (001)	Kate Smith	Tues 3:30 PM - 9:15 PM In Person
Description In this studio course students will explore basket weaving techniques and their interconnectedness to the history and traditions of the craft. The class will utilize both traditional and non-traditional methods and materials to investigate new ways of creative expression while carrying the long, multi-cultural basket weaving tradition. Readings may include Revered Vessels: Custom and Innovation in Harari Basketry and Hybrid Basketry: Interweaving Digital Practice within Contemporary Craft. Students will be introduced to Native North American basket weaving and the ancient baskets of both Egypt and Israel to bring an understanding of the contemporary craft through its historical origins. Artists such as Hayakawa Shokosai, the Campana Brothers, and Ruth Asawa will be a point of reference for the class as a way to connect their own conceptual framework to this traditionally utilitarian craft. Students should expect to produce a variety of technique-based samples as well as a midterm and a final culminating project. This course requires an artist presentation and assigned readings. Students will reflect on the readings with written responses to connect contemporary works with historical craft.	Class Number 1407	Credits 3	Department Fiber and Material Studies Area of Study Art/Design and Politics Location Sharp 902
Introduction to Computer Vision	3039 (001)	Douglas Rosman	Wed 9:00 AM - 3:00 PM In Person
Description Computer vision allows machines to see and understand their environment. This course will equip students with the practical skills and critical theory needed to both employ and critically engage these techniques. Processing images and video with code, real-time body tracking and object detection with machine learning will be emphasized. Techniques and concepts are presented through the creative coding library p5.js, and through node-based tools like TouchDesigner. Students will explore and critique contemporary applications ranging from automated mass surveillance to interactive installations. A final project will build on in-class workshops, technical exercises, critical readings and discussions.	Class Number 1108	Credits 3	Department Art & Technology / Sound Practices Location MacLean 401
Performing Objects	3039 (001)	Jefferson Pinder	Thurs 9:00 AM - 3:00 PM In Person
Description Performing Objects is an expansive, interdisciplinary studio course that merges elements of Performance Art, Ritual, Theater, Installation Art, Body Art, Social Practice, and Sculpture. Grounded in object-making, this course invites students to explore the performative potential of their creations through physical interaction and live engagement. We will develop installations that invite audience participation, extend our work beyond the classroom into public spaces, and experiment with new ways to activate objects through performance. Emphasis will be placed on crafting dynamic relationships between performer and audience using material, movement, sound, text, spectacle, scale, and environment.	Class Number 1717	Credits 3	Department Sculpture Area of Study Animation Location 280 Building Rm 127
Deep Risography	3042 (001)	Conor Stechschulte	Tues 9:00 AM - 3:00 PM In Person
Description In the last twenty years, the Risograph machine has become a powerful tool in the hands of artists and self-publishers. Students in this course will learn advanced methods of printing, spot color layering and color-separation along with becoming immersed in the rich global culture of RIsograph printing and publishing. The class will consist of demonstrations, lectures and presentations on current Risograph practitioners, visits with artists and publishers, trips to school collections and the prodigious production of strange and beautiful printed objects. Lectures and readings may include the work of artists Sigrid Calon, Lale Westvind, Joe Kessler, and the publishers Colorama, Perfectly Acceptable, Colour Code, The Charles Nypels Lab, Animal Press, Tan and Loose, and others. Students will acquire knowledge of the vibrant world of Risograph-printed art and skills in Risograph machine operation, color separation, publishing software such as Adobe Illustrator and Spectorlite, along with the operation binding and finishing equipment. Students will apply this knowledge of the context of Risograph printing and publishing to inform their planning and execution of their own sophisticated printed multiples. Students will be expected to produce 3-4 projects demonstrating technical proficiency and contextual grounding. These projects will be refined during regular one-on-one meetings and discussed in three group critiques. The course will culminate in a show of student work.	Class Number 1553	Credits 3	Department Printmedia Area of Study Comics and Graphic Novels Location 280 Building Rm 220
Disobedient Objects [screenprint]	3045 (001)	Aaron Hughes	Fri 9:00 AM - 3:00 PM In Person
Description This course will introduce students to the visual languages, graphic trends, and methods used in contemporary social movements 1960s to present. In collaboration with archivists around Chicago, we will view and discuss archived ephemera and create works in response to this research. The thematic structure of this course is situated around ideas of the radical archive. In its simplest form this refers to the aggregation of materials, practices, languages, information. We will also examine how radical archiving (democratic or disruptive) conceptually relates to more performative, gestural, or ephemeral forms; the ways an entire studio practice, a human life, or a single object can be considered an archive. The 'Disobedient Objects' exhibition at the Victoria + Albert Museum provides the jumping-off point for this class. Readings + artists discussed include: Sharon Hayes, Julie Ault, Emory Douglas, Lucy Lippard, Gregory Sholette, Group Material. Archives visited + discussed include: Interference Archive; Gerber/Hart Library of LGBTQ history, SNCC Archives, ACT UP Chicago records. Students will choose from a list of Chicagoland archives to search through for collections of interest. Thereafter, they will be creating additional works, ephemera, artifacts that speak to their understandings of the collection. Some considerations for delving into these collections include: Where do you fit in? What aesthetic cohesion is there between materials? What language is used in the messages? Materials? Processes? Distribution? Is the archive considered a closed set or are there things missing? What are the implications of 'updating' a collection / closed set?' We will also visit collections around the city as a class, meet with artists working at the intersections of art and activism and publishing. Prerequisites Must have completed one of: PRINT 1101 or 2005 or 3008	Class Number 2197	Credits 3	Department Printmedia Area of Study Art/Design and Politics, Class, Race, Ethnicity, Community & Social Engagement Location 280 Building Rm 222
Interface and Structure: Web Design	3045 (001)	Mark Stammers	Thurs 9:00 AM - 3:00 PM In Person
Description HTML defines the structure of a web page, while CSS lends style by controlling the presentation of elements. This online course caters to students with little or no prior coding experience. Through hands-on coding modules, students will use a text editing program to acquire proficiency in standards-compliant HTML and CSS. A strong emphasis on redundancy will ensure that coding concepts are fully understood and best practices reinforced. Students will undertake research, design, and coding tasks to create a fully functional, responsive website. With a solid understanding of HTML and CSS, students will explore opportunities to develop dynamic web pages that adapt seamlessly to different devices and screen sizes. Additionally, students will investigate interface possibilities, evaluate site navigation opportunities, and analyze the effectiveness of various page structures in communicating information effectively and efficiently. There are no prerequisites for this course.	Class Number 1797	Credits 3	Department Visual Communication Design Area of Study Social Media and the Web Location Sharp 1108
Knitworks: Sustainability & Community	3045 (002)	Kristin Mariani	Tues 9:00 AM - 3:00 PM In Person
Description This course teaches students hand knitting with an emphasis on sustainable materials and practices. Themes of waste, re-use, recycling, and the redesign of pliable materials will serve as foundational concepts around which students will center their making. Students will learn hand knitting techniques, how to read and write knit and pattern languages, steeking, unraveling existing knits, rehanging yarn to reclaim fiber, needle felting for knits, crochet, crewel work, and hand-stitching techniques. Historic and contemporary knits will be encountered through visits to SAIC¿s Textile Resource Center and the Art Institute of Chicago¿s Textile collection. Artists presented in relation to public action, community building, and sustainable studio practices include the works of Magda Sayeg, Ernesto Neto, Wells Chandler, Jesse Harrod, and Orly Genger. Class discussions will address texts by Alden Wicker and Rebecca Burgess, and consider local and global community fiber/textiles programs in relation to environmentalism. Assignments include readings, media viewing, discussions, explorations of knit stitches, and midterm and final studio assignments. Students will use existing and alternative raw goods and pliable materials, re-engineering them to create a range of project outcomes including 2-D and 3-D works, installations, performances and public actions.	Class Number 2377	Credits 3	Department Fiber and Material Studies Area of Study Art/Design and Politics, Community & Social Engagement, Sustainable Design Location Sharp 902
Live Wire / Hot Mic: Music and Technology in Performance Art	3047 (001)	Corey Smith	Wed 9:00 AM - 3:00 PM In Person
Description This course dives deep into the rich terrain where music, technology, and contemporary performance intersect. Through technical workshops, theoretical exploration, embodied practice, and hands-on experimentation, students will explore sound as a technically mediated live material: something made by bodies, carried through wires, and organized through performance. Beginning with technologies we already carry in the body ¿ language, voice, breath, and movement ¿ students will expand into the full expressive toolkit of multimedia performance, using microphones, speakers, digital audio tools, projection, lighting, and other electronic technologies to shape live performance work. No formal musical or technical training is required. Artists and works include Pauline Oliveros, Meredith Monk, Pamela Z, the Art Ensemble of Chicago, Alvin Lucier, George Lewis, Laurie Anderson, the Wooster Group, Holly Herndon, Basil Twist, and Manual Cinema. Readings include Christopher Small¿s Musicking, George Lewis on improvisation, Dick Higgins on intermedia, Philip Auslander on liveness, Legacy Russell on glitch, and texts addressing technology¿s role in shaping musical and performative practice. Students create a voice/sound study and a technologically mediated live performance. Coursework culminates in a personalized, ambitious multimedia performance that moves freely between disciplines.	Class Number 2384	Credits 3	Department Performance Location MacLean 2M
Shaping Light	3048 (001)	Gregory Mowery	Wed 9:00 AM - 3:00 PM In Person
Description Light is a material that can be shaped to express ideas, create experiences and increase the communicative potential of objects and spaces. Through a combination of lectures, demos, fields trips and most of all, hands-on lab work, students develop a degree of self sufficiency in the design, construction and prototyping of illuminated objects, physical graphics and environmental lighting. Students learn basic electronic and electrical circuit design, lamp specification and experiment with illumination technologies including incandescent, LED and cold cathode (neon).	Class Number 2249	Credits 3	Department Art & Technology / Sound Practices Area of Study Public Space, Site, Landscape, Art and Science Location MacLean B1-16
Drawing Materials & Techniques	3049 (001)	Richard Deutsch	Tues 9:00 AM - 3:00 PM In Person
Description This course examines the relationship of specific media and techniques to the content and activity of drawing. Studio work is complemented by study of works on paper in the collection of the Art Institute of Chicago.	Class Number 1615	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Painting Materials and Techniques I	3050 (001)	Josh Dihle	Wed 9:00 AM - 3:00 PM In Person
Description This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1629	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Painting Materials and Techniques I	3050 (002)	Richard Deutsch	Thurs 9:00 AM - 3:00 PM In Person
Description This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1630	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Painting Materials and Techniques II	3051 (001)	Jaclyn Gaye Mednicov	Fri 9:00 AM - 3:00 PM In Person
Description This course is the second part of a two-semester sequence. The first semester presents the full array of materials used in painting with an introduction to some study of methods of construction. This course puts those materials to use and carries forward the study of methods and strategies of construction, beginning with Flemish and Venetian painters and carrying through late twentieth-century painting. The subject of painting is studied from the viewpoint of the language of material and process. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1631	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Adventures in Self-Publishing	3053 (001)	Conor Stechschulte	Mon 9:00 AM - 3:00 PM In Person
Description This course introduces students to the use of RISOgraph image duplication as a creative, independent publishing tool. Attention will be paid to ways artists' publishing has publishing has been used to bypass traditional cultural and institutional gatekeepers, to foster community, as well as the distribution of independent ideas and content. Studio work will be supplemented with readings, visits to SAIC special collections and class discussion addressing contemporary and modern artists. Studio experimentation and research will be encouraged.	Class Number 1556	Credits 3	Department Printmedia Area of Study Books and Publishing, Comics and Graphic Novels Location 280 Building Rm 220
Figure It Out: Sculpture and Bodies	3056 (001)	Mindy Rose Schwartz	Wed 9:00 AM - 3:00 PM In Person
Description The figure in contemporary art has long been debated, but just as painting never died as forecasted so, too, the figure. It has morphed, become cyber, stayed representational, been found in the world and fashioned of any medium, while dissolving the line between it and abstraction, making it permeable and evocative. In this course students will be challenged to redefine the boundaries of traditional sculptural representation using the figure as a catalyst for evoking a range of content. We will consider human and animal bodies broadly, as cultural, historical, and constantly changing entities. Through an examination of diverse approaches related to figurative sculpture, students will be encouraged to engage with a variety of sculptural processes and media (such as assemblage, mold making, modeling, carving, welding, mixed media, fund object) to configure forms, as well as and conceptual frameworks in order to articulate personal and social narratives, and cultural critiques. Addressing a range of cultures and historical periods, our inquiry will focus on: To what ends has the figure been employed (portraiture, faith, identity, gesture, embodiment, fragment, ritual, allegory, affect)? How does a work refer to without fully representing the figure? Why has it been an enduring subject/form? What are challenges and opportunities does it offer us today? Our inquiry will be guided by readings (Gordon Hall, Elizabeth Grosz, Katarzyna Trzeciak, Elaine Scarry, Sara Ahmed, and others) and viewing/museum visits of such artists as Jaime Isenstein, Franz Xaver Messerschmidt, Simone Fattal, Sarah Peters, Hew Locke, Rachel Harrison, Nicole Eisenman, Anna Mendieta, Yinka Shonibare, Simone Leigh, Kiki Smith, Magdalena Abakanowicz, Wangechi Mutu, Louise Bourgeois, Thomas Houseago, Kimsooja, David Altmejd, Lee Bul and Cajsa von Zeipel. Course work includes assignments, readings and in class activities that support the development of three finished projects for critique. Prerequisites Prerequisite: SCULP 1101 or SCULP 2001	Class Number 1727	Credits 3	Department Sculpture Area of Study Gender and Sexuality, Class, Race, Ethnicity Location 280 Building Rm 015
Moldmaking: Replication and Translation	3057 (001)	Stephen Reber	Thurs 9:00 AM - 3:00 PM In Person
Description This course is designed for students who have prior moldmaking and casting experience. Students investigate in-depth project development, implementing and articulating ideas through class discussions and proposals. This course also aims to offer a deeper understanding of the social, historical, and aesthetic implications of replication. Such subjects as the instability and significance of object/material relationships, and the complex and expansive nature between the authentic, the surrogate, and the copy are explored.	Class Number 1718	Credits 3	Department Sculpture Location 280 Building Rm 030
Metalsmithing: From Alloy to Adornment	3059 (001)	Julie A. Nagle	Mon 9:00 AM - 3:00 PM In Person
Description In this course, students will explore the art and craft of working with various soft metals, such as brass, bronze, copper, and silver. The curriculum covers a wide range of techniques such as soldering, forming, and centrifugal casting, enabling students to manipulate and shape metal into intricate forms. Utilizing a combination of hand tools and specialized equipment, students will learn to transform raw metal materials into functional and decorative objects. Emphasis will be placed on artistry and craftsmanship, with students developing their unique designs. This course bridges traditional practices with modern innovations, offering a comprehensive understanding of this ancient yet continually evolving art form. Readings will explore topics of the historic metal eras including the Bronze and Iron Age, The Forge and the Crucible by Mircea Eliade, Metalworking Through History: A Modern Encyclopedia by Ana M. Lopez, Alchemy + Mysticism by Alexander Roob, A History Of Metallography: The Development Of Ideas On The Structure Of Metals Before 1890 by Cyril Stanley Smith, and The Secrets of Metals by Wilhelm Pelikan. Some contemporary metalsmith artists will be studied such as Michele Oka Doner. This class will also include a variety of handouts from the Metal Smith Society to demonstrate specific metal smithing techniques and tools. We will have a midterm critique to review progress and then students should expect to produce a body of work consisting of 3-5 finished pieces during the semester.	Class Number 2265	Credits 3	Department Sculpture Area of Study Costume Design, Furniture Design, Product Design Location 280 Building Rm 015
Deep Surface	3059 (001)	Josh Dihle	Mon 9:00 AM - 3:00 PM In Person
Description In this materially-oriented multi-level studio course, students will expose the possibilities beneath, within, and above the painting surface. Students will learn both archival and experimental strategies for making work that upsets distinctions between image and object. Through demonstrations and open-ended assignments, students will learn impasto painting techniques, adhesives, sculptural surface construction, wood relief carving, embedding, and alternative materials. Deep Surface will give students the opportunity to explore juicy facture, heavy-duty mediums, extraction tools, image excavation, and extravagant adornment. We will narrow the gap between painting and sculpture. In support of these efforts, course readings will include Hamza Walker, Annie Albers, and Tatiana Berg. Readings and discussions will compliment slide talks, demonstrations, and critiques. We will look at artwork hailing from a wide swath of histories and world cultures, including 20th Century African American folk art, ancient Greek and Mesopotamian relief carving, Medieval and early Renaissance painting, and a range of contemporary painting-sculpture hybrid practices. Students will produce artworks using a range of materials and technical processes that bridge the divide between painting and sculpture. A total of at least seven completed paintings are due during the semester. Prerequisites Prerequisite: PTDW 2001.	Class Number 1667	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Twist and Rout	3060 (001)	Paul Martin	Wed 9:00 AM - 3:00 PM In Person
Description The history and techniques of bending and shaping wood are explored, from the stage coach wheel to the sculptures of Martin Puryear, from the cambered truss to the violin. Projects include a variety of practices such as laminate bending, form fashioning, steam bending, and vacuum pressing.	Class Number 1711	Credits 3	Department Sculpture Area of Study Furniture Design Location 280 Building Rm 023
Technical Studies:Glaze	3061 (001)	Mie Kongo	Fri 9:00 AM - 3:00 PM In Person
Description This technical studies course will explore glaze materials, the geology of ceramic materials, ceramic chemistry, glaze and clay body formulation, glaze colors, the function of heat, firing atmosphere, and glaze characteristics, behaviors and defects. The spectrum of raw ceramic materials become familiar to students through weekly lectures and discussions, numerous experimental glaze material tests and data recording and analysis. Students will learn how to safely use and exploit a wide variety of ceramic materials in order to develop a broader understanding of applications for personal expression. We will explore a wide range of glaze formulations while building a comprehensive foundation for understanding how materials can be used and formulated to yield specific and reproducible results. At the conclusion of this course, each individual will have the tools to precisely test and produce glaze formulations, understand how to use the various tools present in the glaze lab, and the ability to interpret written and fired formulae results. This class is designed as a half lecture and half lab course. Course work includes weekly reading, 10 glaze test assignments, mid-term and final quizzes and final critique. Prerequisites Student must have completed any CER course at SAIC	Class Number 1171	Credits 3	Department Ceramics Area of Study Art and Science Location 280 Building Rm M153
Writing Sculpture: Building Language	3061 (001)	David Sprecher	Tues 9:00 AM - 3:00 PM In Person
Description Writing Sculpture: Building Language exists where the material dimension of language meets the literary potential of objects. The words that shape artworks can augment, deform, rescale, and align them with narratives that radically shift their performance. Conversely, language can gain weight and be stretched, folded, carved, fractured and rebuilt to echo rather than explicate sculptures. How can poems and exhibitions structurally inform each other? How can creative writing help us understand what our work wants to be? Through the lens of embodied cognition, the hypothesis that thinking is a physical act anchored to our sensory-motor experiences and interactions with our environment, we will leverage the powerful collusion between words, actions, and objects. We will explore forms of writing, object-making, performance and installation that open sculpture to the wilds of narrative imagination.	Class Number 2385	Credits 3	Department Sculpture Area of Study Narrative, Theory Location 280 Building Rm 015
Metalworks	3063 (001)	Dan Price	Tues 9:00 AM - 3:00 PM In Person
Description Metalworks is a let's-get-to-basics class for working with steel. Join the class to learn basic metal fabrication, including: cutting, forming, forging, welding and finishing. This class will guide you as you build your projects in steel. You'll learn about structural systems and histories relevant to art and design with an emphasis on techniques and methodologies relevant to metalwork. You will integrate your learning to produce a set of finished works using historic and contemporary technologies. If it's metal, It's here. Designing, Fabricating, Forging, Finishing. Make it in metal.	Class Number 1724	Credits 3	Department Sculpture Area of Study Digital Fabrication Location 280 Building Rm 127
Lighting & Cinematography	3070 (001)	Meredith Zielke	Wed 9:00 AM - 3:00 PM In Person
Description This is an intensive studio course for advanced students of film/video to explore the creative uses of light in their projects. Through the examination of cinematographic approaches across the various genres including narrative, experimental, and documentary, students apply advanced techniques of lighting and composition to their work. Emphasis is placed on the changing role of the cinematographer in the world of digital media. Prerequisites Prerequisite: FVNM 2004 & FVNM 2005 or FVNM 3003 or FVNM 5020	Class Number 1440	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Playwriting/Screenwriting Location MacLean 1304
Cell Biology	3086 (001)	Anna Edlund	Fri 3:30 PM - 6:15 PM In Person
Description This course in an introduction to the structures and functions of eukaryotic cells. Cells are the un-splittable, elemental ¿atoms¿ of life, and all of them share DNA, RNA, proteins and membranes in common. In this class, lecture and laboratory exercises will be mixed to explore molecular compositions, energy transformations, cell division, and replication and expression of genetic material within cells. Readings will be from the text Campbell Biology: Concepts and Connections, 9th ed. Reece, Taylor et al. (students will not need to buy this textbook). To explore the interplay between personal, societal, historical and scientific perspectives on Cell Biology, several movies will also be viewed and discussed, including 'The Immortal Life of Henrietta Lacks' and 'Three Identical Strangers.' Students will submit journal entries, laboratory notes, as well as answers to frequent review questions. There will be two mid-terms. Students will select a subject of personal meaning related to Cell Biology and will design a public-facing artwork, photomicrograph, infographic, zine, or public service announcent that shares the structures, functions and/or stories of their subject. Prerequisites Prerequisite: First Year English requirement.	Class Number 1697	Credits 3	Department Liberal Arts Location Lakeview - 1503
Synthetic Futures: Biodesign Challenge	3090 (001)	Andrew H. Scarpelli	Fri 9:00 AM - 3:00 PM In Person
Description In this course we will work in collaborative teams to produce projects to enter the first annual Biodesign Challenge, a competition to envision the future of synthetic biology. Synthetic biology is the design and construction of life itself; the engineering of living organisms as biological machines. The field consists of scientists, industries, artists, and citizens using known fundamentals governing how biology works on a submicro-level in order to create meaningful alterations to how life functions. This hybrid studio/science course will introduce students to the theory and techniques of microbial genetic engineering while placing it in a larger cultural, ethical and artistic context. Students will learn and explore the basics of biology of all living organisms with an emphasis on single celled organisms, supported by lab work with bacterial cultures, DNA extraction and manipulation, polymerase chain reaction and gel electrophoresis. Fluency with these lab techniques will enable critical consideration of research and experimentation in biological science and in art and design. Studio projects will focus on designing systems and experiments to utilize this technology conceptually and creatively. The course will culminate in a design summit in New York City, an exhibition of winning projects, and a publication in print and online.	Class Number 1111	Credits 3	Department Art & Technology / Sound Practices Area of Study Collaboration, Politics and Activisms, Art and Science, Sustainable Design Location MacLean 414
Advanced Operations	3102 (001)	Stephanie Surjan	Thurs 3:30 PM - 6:15 PM All Online
Description This course teaches advanced operations with the tools of architectural representation. Students learn parametric and generative modeling strategies, advanced Building Information Modeling (BIM) workflows, and methods for moving between software platforms such as Rhino and Revit at multiple phases of a design project. The class introduces the use of real-world site data, including location and sun settings, to support environmental analysis and design decisions. Emphasis is placed on coordinating digital models, producing drawings, renderings, and basic animations, and clearly communicating design intent and process. Class work includes lectures, demonstrations, readings, and iterative exercises. 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.	Class Number 2358	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Digital Imaging, Illustration Location Online
Drawing Machines	3104 (001)	Tom Burtonwood	Fri 9:00 AM - 3:00 PM In Person
Description Drawing Machines is a studio course that introduces the use of mechanical apparatus and digital technology to produce drawings, paintings and sequential images. Course participants will experiment with ways that their creative expression can be produced using rules based systems, chance operations and disembodied practices. These methods of translation will be used as starting places for studio based outcomes using pen plotters, CNC machines and other mechanical devices. Prior experience with digital modes of making is useful but not required. Drawing Machines will explore both historical and contemporary developments in technology that have made it possible for artists, designers and architects to use mechanical devices to express their ideas and produce images. Readings, screenings and examples will engage course participants with a range of critical and theoretical positions towards machine made and systems based forms of production. Artists will include Alberto Aguilar, Arno Beck, Daniel Catt, Sougwen Chung, Andee Collard, fingacode, Licia He, Jean-Pierrre Hébert, Eva Hesse, Carl Lostritto, Jennifer McCoy, Manfred Mohr, Vera Molnár, Wangechi Mutu, Lisa Orth, Casey Reas, Marcelo Soria Rodríguez, Sonia Sheridan, Maksim Surguy, Sol Le Witt, Emily Xie and more. Course participants will produce a body of work drawn from their personal creative interests using analog rules based systems, coded instructions and machine made outcomes.	Class Number 2370	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Imaging, Art and Science Location MacLean 402
Architectural Structures	3104 (001)	Hong Yeol In	Wed 9:00 AM - 3:00 PM In Person
Description This course teaches the fundamental concepts and applications of architectural structures, with an emphasis on the math and science necessary to analyze and design structural elements and systems. The course focuses on the properties of materials, the appropriateness of different structural systems to various architectural applications, and on how architects communicate their intentions with engineers and other professionals involved in the design and construction of building structures. Class work includes lectures; readings and discussions; and exercises to perform structural calculations and produce construction drawings and details at varying levels of complexity. 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.	Class Number 2281	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1241
Structuring Narrative & Building the Imagined World	3104 (001)	Gitanjali Kapila	Wed 8:30 AM - 11:15 AM In Person
Description This course focuses on using the principles of narrative and narrative structure to explore worldbuilding as a method for creating platform-specific time-based media. Students will engage a variety of writings in order to apprehend the theoretical tools necessary for 1) understanding narrative as a controlled and mediated communication between writer and viewer; 2) apprehending the critical role of designed spaces and narrative mapping in creating imagined worlds; 3) interrogating the ways in which media technologies and delivery systems inform the centering of different narrative perspectives; 4) exploring the process of activating narrative content in the imagined world for platform-specific media. The works of Sophocles, Aristotle, and Joseph Campbell will provide a coordinated theoretical framework for course content. Over the course of the semester students should expect to produce an 'imagined world' which has undergone at least 5-6 iterations based on course content. Students will also be expected to produce a screenplay, television pilot and bible, game bible or other platform-specific writing based on the world that the student builds. Prerequisites Prerequisite: FVNM 3024.	Class Number 2238	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication, Playwriting/Screenwriting, Social Media and the Web Location MacLean 517
Drawing Machines	3104 (001)	Tom Burtonwood	Fri 9:00 AM - 3:00 PM In Person
Description Drawing Machines is a studio course that introduces the use of mechanical apparatus and digital technology to produce drawings, paintings and sequential images. Course participants will experiment with ways that their creative expression can be produced using rules based systems, chance operations and disembodied practices. These methods of translation will be used as starting places for studio based outcomes using pen plotters, CNC machines and other mechanical devices. Prior experience with digital modes of making is useful but not required. Drawing Machines will explore both historical and contemporary developments in technology that have made it possible for artists, designers and architects to use mechanical devices to express their ideas and produce images. Readings, screenings and examples will engage course participants with a range of critical and theoretical positions towards machine made and systems based forms of production. Artists will include Alberto Aguilar, Arno Beck, Daniel Catt, Sougwen Chung, Andee Collard, fingacode, Licia He, Jean-Pierrre Hébert, Eva Hesse, Carl Lostritto, Jennifer McCoy, Manfred Mohr, Vera Molnár, Wangechi Mutu, Lisa Orth, Casey Reas, Marcelo Soria Rodríguez, Sonia Sheridan, Maksim Surguy, Sol Le Witt, Emily Xie and more. Course participants will produce a body of work drawn from their personal creative interests using analog rules based systems, coded instructions and machine made outcomes.	Class Number 1671	Credits 3	Department Painting and Drawing Area of Study Digital Imaging, Art and Science Location MacLean 402
Cont Narr:Love Art/Hate Artist	3105 (001)	Eileen Favorite	Thurs 8:30 AM - 11:15 AM In Person
Description How do the biographical details of an artist's life influence our attitude toward their work? Should an artist's politics?both personal and public?influence our aesthetic response to the artwork itself? Or does a work of art become its own entity, detached from its creator? Perhaps, as the deconstructionists advocate, a text or image only bears an accidental relationship to the author's conscious intentions, and thus the creator is superfluous to the work itself. In this class, we study the lives and works of such artists as Chester Himes, J.D. Salinger, Patricia Highsmith, and Sylvia Plath, to examine why we tolerate some behaviors and abhor others. By reviewing biographies, journals, films, and the primary text or artwork itself, we wrestle with the question, is it possible to love the art when you hate/disapprove of/dislike the life the artist led? Students will write shared discussion pieces, a 8-10-page research paper on an artist of their choice, and participate in team debates. CONTENT WARNING: The content and discussion in this course will necessarily sometimes engage with issues of human suffering. Much of it will be emotionally and intellectually challenging to engage with, including graphic or intense content that discusses or represents racism, mental illness, and sexual or physical violence. Prerequisites Prerequisite: First Year English requirement.	Class Number 1472	Credits 3	Department Liberal Arts Location MacLean 620
Introduction to 2D Computer Animation	3105 (001)	Pablo Keith Lorenzana	Fri 9:00 AM - 3:00 PM In Person
Description This course is an introduction to the concepts and processes utilized in the production of digital and analogue to digital 2-D animation. Students work especially with Photoshop and After Effects to develop projects. Complex compositing and layering are also explored in this class. Screenings vary but include primarily contemporary filmmakers / animators using tools covered in class, ranging from student films from other countries and institutions to professional and more commercial examples - all of which will be critiqued and discussed heavily each week. The first 7-8 weeks of class are spent creating ultra short animated films, along with a longer final project at the end of the semester. Prerequisites FVNM 2420 or 5020	Class Number 1428	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging Location MacLean 714
Fashion Photography	3105 (001)	Donald Yoshida, Mayumi Lake	Thurs 9:00 AM - 3:00 PM In Person
Description The objective of the proposed class is to give students the opportunity to understand the process of concept development, introduce pre-production, styling, set considerations, lighting, post production and how best to capture the essence of the fashion idea through photography. Garment silhouette, cut & construction, color and texture are considered to best convey the design idea through the most appropriate and effective photographic techniques. An editorial approach is used in the book to stimulate and communicate their fashion sense to the viewer and to tell a fashion story.	Class Number 1376	Credits 3	Department Fashion Design Location 280 Building Rm 214
Fashion Photography	3105 (001)	Donald Yoshida, Mayumi Lake	Thurs 9:00 AM - 3:00 PM In Person
Description The objective of the proposed class is to give students the opportunity to understand the process of concept development, introduce pre-production, styling, set considerations, lighting, post production and how best to capture the essence of the fashion idea through photography. Garment silhouette, cut & construction, color and texture are considered to best convey the design idea through the most appropriate and effective photographic techniques. An editorial approach is used in the book to stimulate and communicate their fashion sense to the viewer and to tell a fashion story.	Class Number 1376	Credits 3	Department Fashion Design Location 280 Building Rm 214
Cont Narr: Asian American Lit	3105 (002)	Suman Chhabra	Tues 12:15 PM - 3:00 PM All Online
Description There are fantastic books by Asian American writers but often they are not taught in school, or part of pop culture, or included in the literary canon. Who decides which writers and books are worthy of reading? In this discussion based course, we will critically read, think, and write about texts by contemporary Asian American authors. We will analyze multiple factors that have influenced the creation of the texts and that are explored within them, such as race, diaspora, memory, family, politics, community, and identifying oneself and one¿s artwork. The readings will be across genre: novels, poetry, non-fiction, and graphic novels. Readings often include works by Victoria Chang, Mira Jacob, Alexander Chee, Jenny Xie, Ocean Vuong, Ted Chiang, and Cathy Park Hong among others. We will freewrite, formulate conceptual questions for the readings, write responses, and compose 2 essays based on individual inquiry and analysis. Prerequisites Prerequisite: First Year English requirement.	Class Number 1464	Credits 3	Department Liberal Arts Location Online
Cont Narr:Immigrant Fictions	3105 (004)		Mon 12:15 PM - 3:00 PM In Person
Description The works of contemporary authors are explored in relation to particular social, ethical, or artistic issues. Prerequisites Prerequisite: First Year English requirement.	Class Number 2120	Credits 3	Department Liberal Arts Location MacLean 111
Cont Narr: Cripping the Narrative	3105 (005)	Terri Griffith	Wed 8:30 AM - 11:15 AM In Person
Description Crip Theory, an intersection of Disability Studies and Queer Theory, forms the theoretical groundwork for this course. Students analyze how works of literature and art reshape traditional storytelling and representations of disability and nonnormativity. Through critical engagement with a variety of texts, students will investigate how experiences of disability influence and transform our narratives. As they engage with literature, art, and theory, students will uncover the ways creative works confront power dynamics, promote inclusivity, and further the goal of social justice. Prerequisites Prerequisite: First Year English requirement.	Class Number 2179	Credits 3	Department Liberal Arts Location MacLean 707
HARDCORE Repeat	3106 (001)	Christine Tarkowski	Wed 9:00 AM - 3:00 PM In Person
Description This course examines theoretical notions of repetition in relation to ornament and image redundancy, putting those ideas into practice through studio practice. Students will consider the copy in relation to authenticity, and the ways reproduction can supplant¿or complicate¿the idea of an 'original.' A central focus of the course is repeat pattern production within the context of fine and applied art, with outcomes including design, sculpture, installation, and wall-based work. Students will learn the mechanical aspects of building repeat patterns using both analog and digital methods. Screen printing on fabric and other pliable substrates will serve as the primary form of output. The course builds on and advances students' existing screen printing knowledge, introducing advanced techniques such as multi-color and CMYK printing, digital tools as a preparatory step for screen printing, and printing on fabric, paper, and alternative materials. Assignments, critiques, lectures, technical demonstrations, and readings will guide students through the course content. Students are encouraged to consider the context of their production in relation to high and low forms of culture.	Class Number 2255	Credits 3	Department Fiber and Material Studies Area of Study Digital Imaging Location Sharp 905
Masterworks: Beloved	3110 (002)	Kirin Wachter-Grene	Mon 12:15 PM - 3:00 PM In Person
Description Toni Morrison¿s 1987 Pulitzer Prize winning novel Beloved is an undeniable tour de force, with an impact nearly impossible to describe. Blending historical truth with literary innovation, realism with the supernatural, Morrison creates a work of critical fabulation that constructs a searing portrayal of slavery¿s lasting wounds. With writing that is both lyrical and harrowing, the novel is a landmark in American literature and a vital work for understanding the legacy of slavery in the present. In other words, there is a reason why this book remains one of the most banned and challenged in American classrooms, as we will discuss. The novel¿s powerful exploration of slavery¿s psychological and generational impact, its innovative narrative style, and its profound engagement with the persistence of history and memory make it a staggering literary work to return to again and again with careful, sustained attention. We will slowly and deeply engage with Beloved over the course of the semester, attending to its nonlinear storytelling, stream-of-consciousness narration, shifting perspectives, and breakdown of language, all while situating the novel within social, political, literary critical, and cultural contexts, including Black feminist theory. Students should expect to read, on average, 75 pages of combined fiction and critical secondary materials per week and to write about and discuss them in depth. Prerequisites Prerequisite: First Year English requirement.	Class Number 2108	Credits 3	Department Liberal Arts Location Lakeview - 205
Letterpress Bookworks	3111 (001)	Catherine Ruggie-Saunders	Mon 9:00 AM - 3:00 PM In Person
Description Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content. Instruction encourages an interdisciplinary approach with a thrust toward expanding the medium's boundaries. Lectures and video documentaries provide an historical and cultural context for type design and the printing revolution. A field trip will provide exposure to the expanding applicability of letterpress in contemporary design, as well as exemplars from the past six centuries. Demonstrations will acquaint students with both classical and current approaches to using the tactile voice of letterpress. Students should expect to work with single sheet formats, traditional books, artist's books, and 3-D sculptural multiples, to be presented in group critiques. This course may be repeated for credit, with students creating letterpress bookworks through self-initiated projects. Prerequisites Prerequisite: VISCOM 2011 or permission of instructor.	Class Number 1791	Credits 3	Department Visual Communication Design Area of Study Books and Publishing Location Sharp 1308
Letterpress Bookworks	3111 (002)	Catherine Ruggie-Saunders	Fri 9:00 AM - 3:00 PM In Person
Description Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content. Instruction encourages an interdisciplinary approach with a thrust toward expanding the medium's boundaries. Lectures and video documentaries provide an historical and cultural context for type design and the printing revolution. A field trip will provide exposure to the expanding applicability of letterpress in contemporary design, as well as exemplars from the past six centuries. Demonstrations will acquaint students with both classical and current approaches to using the tactile voice of letterpress. Students should expect to work with single sheet formats, traditional books, artist's books, and 3-D sculptural multiples, to be presented in group critiques. This course may be repeated for credit, with students creating letterpress bookworks through self-initiated projects. Prerequisites Prerequisite: VISCOM 2011 or permission of instructor.	Class Number 1790	Credits 3	Department Visual Communication Design Area of Study Books and Publishing Location Sharp 1308
The Novel	3112 (001)	Todd S. Hasak-Lowy	Tues 3:30 PM - 6:15 PM In Person
Description A study of the nature of the novel as an invented form of literary art. This course typically includes works by a variety of authors representative of a wide range of cultures and historical periods, so that the variety of the novel is explored. Prerequisites Prerequisite: First Year English requirement.	Class Number 2274	Credits 3	Department Liberal Arts Location Lakeview - 202
Hybrid Objects	3113 (001)	Andrew Bertholf	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description This studio course explores the interconnected nature of our physical and digital realities and their implications as technical, physical, and conceptual tools for understanding and presenting spatial ideas. This course teaches students to integrate the digital and the analog through process demonstrations including 3D modeling, 3D scanning, digital visualization, 3D printing, CNC output, mold making, pattern making, as well as metal and wood fabrication. This course covers planar and spatial construction methodologies. This course engages themes of identity and place in sculpture and presents the idea that these concepts are expressed uniquely via this hybrid process. However, students in this course are free to choose the content of their own work. Practical application of technical demonstrations build on lectures and discussions considering works by Tauba Auerbach, Macarthur Freeman, The Long Now Foundation, Charles Ray, Spurse, Rokudenashiko (Megumi Igarashi), Amanda Williams, and Wim Delvoye among others. Students will work individually to create 3 artworks to be presented in a final critique. Students will share these artworks in-process in 2 or 3 informal critiques. Each student will also complete a short written research project.	Class Number 1716	Credits 3	Department Sculpture Location 280 Building Rm 127A, 280 Building Rm 127
Foundry: Industrial Morphologies	3115 (001)		Wed 9:00 AM - 3:00 PM In Person
Description Advances in metallurgy and foundry practices provided the spark for the Industrial Revolution that transformed the world. In this intermediate level metal casting course, students explore how technological developments, material innovations, principles of mass production and distribution, and the mechanization of work have influenced the shape of contemporary social, economic, and political structures. While emphasis is placed on foundry techniques in this course, a variety of industrial materials and processes are explored including computer scanning, data manipulation and rapid-prototyping technologies. Students learn to access industrial services via the internet and off-campus field trips.	Class Number 1713	Credits 3	Department Sculpture Area of Study Product Design Location 280 Building Rm 030
Drawn to Print	3116 (001)	Nia Easley	Fri 9:00 AM - 3:00 PM In Person
Description A drawing is created whenever an object in motion touches the surface of another, leaving behind evidence of that encounter. Students will generate images by examining a range of traditional and contemporary drawing techniques, with an emphasis on analog processes and material exploration. Whether one's style is gestural and improvisational or systematic and detail-oriented, drawing serves as a device for accessing ideas and expanding conceptual vocabulary. Printmaking then becomes an extension of the drawing process, adding richness of surface, color, texture, and layering. A priority is placed on examining the physical relationship between drawing and printing, with a focus on direct printing techniques such as monoprinting, screen-printing, and heat transfers, alongside hand-painting and collage. Strong emphasis will be placed on developing a personal, innovative visual language and on challenging conventional notions of scale, site, and material.	Class Number 1397	Credits 3	Department Fiber and Material Studies Location Sharp 905
Soft Logic	3118 (001)	Nelly Agassi	Thurs 9:00 AM - 3:00 PM In Person
Description This course focuses on the concept of softness. Students will develop projects framed by readings on affect, intimacy, radical softness, touch, and soft identities, teasing out what it means to be 'soft.' Students will be introduced to a range of hand-manipulated and machine techniques¿including reverse needle felting, latch hooking, tucking, stabilizing, boning, armature building, fabric heat manipulation, natural dyeing, flocking, and fringe crocheting. Students are encouraged to experiment with texture and form using these methods. Two experimentation samples will be required to manifest these conceptual underpinnings through a variety of techniques. Sampling acts as a playful guide leading to two major projects, each accompanied by a written statement. This course also requires artist and reading presentations. Readings may include Sara Ahmed's 'Happy Objects,' Alexander Theroux's 'Soft Balm, Soft Menace,' and Sianne Ngai's 'The Cuteness of the Avant-Garde.'	Class Number 1398	Credits 3	Department Fiber and Material Studies Area of Study Costume Design Location Sharp 1014
Post-Production	3122 (001)	Kera MacKenzie	Fri 9:00 AM - 3:00 PM In Person
Description This course gives students the opportunity to comprehensively explore industry-standard devices in digital editing and visual effects, bringing to bear the power and versatility of nonlinear editing on their creative projects. The class offers advanced editing techniques including data management, sound mixing, visual effects, color correction, compression and output options. The course is structured around a series of technical lectures and hands-on workshops as well as discussions of theoretical texts and screenings of films specifically selected to address important issues in the post-production process. Students will be working on the post-production of a single self-directed project. Students should come prepared with some of their footage ready for editing at the beginning of the semester. Students must participate in a mid-term critique and end-of-semester critique. Students will also generate a press kit for their project. Prerequisites Prerequisite: FVNM 2004 or FVNM 2005 or FVNM 3003 or FVNM 5020	Class Number 1434	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 819
Intermediate Screenwriting	3124 (001)	Anahita Ghazvinizadeh	Tues 12:15 PM - 3:00 PM In Person
Description Intermediate Screenwriting expands upon the skills learned in Beginning Screenwriting while preparing certain students for the longer-form writing required in Advanced Screenwriting. The purpose of the course is to allow students to develop mid-length stand-alone screenplays, adaptations from short stories or pilots for television series, while paying special attention to the vital role that drafting plays in the development of a successful script. Since Intermediate Screenwriting is first and foremost a writing class, there will be no formal reading or viewing assignments. However, throughout the semester, the professor will suggest books and articles to read and films to watch, that should help further and develop the various ideas that students are wrestling with in their scripts. For example, a work such as Kieslowski's ''The Decalogue'' will be suggested for students looking to embrace a thematic approach to a series of short films. Students have the option of completing two drafts of a 60-page script or three drafts of a 30-45 page script. Completion of these drafts are required to pass the class Prerequisites Prerequisite: FVNM 3024.	Class Number 1445	Credits 3	Department Film, Video, New Media, and Animation Area of Study Playwriting/Screenwriting Location MacLean 501
Doing Democracy	3125 (001)	Catalina Hernández-Cabal	Thurs 12:15 PM - 3:00 PM In Person
Description What egalitarian ideals have shaped our conception of public education? How has the promise of democratic schools been undermined by white privilege, racism, class-based discrimination, inequitable funding, colonialism, patriarchy, and disregard for the human impact on the natural world? This course builds a foundation for understanding the politics of schooling by exploring the struggle for democratic education in Chicago, contextualized by contemporary global decolonial practices in education. Students will consider how shifting conceptions of schooling are responses to the contemporary cultural moment¿recognizing how curriculum supports the beliefs and needs of the status quo as well as how curriculum might critique and propose new ways of being as individuals and as societies. The course explores a broad range of histories, philosophies, and approaches to schooling, including Freedom Schools, Native American boarding schools, transformative justice in education, play and free child movements, teacher-led movements, environmental studies, and the fight to defend ethnic studies programs as well as attempts to re-segregate and privatize public schools. Artists, designers and scholars to be studied include Tonika Lewis, Eve Ewing, Elizabeth Todd-Breland, Jose Resendiz, Borderless Studios, Interference Archive and Alexis Rockman. Readings from the field of art education by Doug Blandy, Laurie Hicks, and Mark Graham will trace the emergence of eco-art and place-based art education curriculum. Field trips include visits to school sites, Chicago Board of Education meetings and exploration of CBOE archives. Course assignments include short response papers and course readings. Students conduct and report on six hours of observations in schools, sites of school decision-making, and in places where people attempt to build democratic processes related to schools. Students will conduct independent research on topics related to contemporary issues and schooling. Each student will prepare and present a culminating project proposal for a school whose curriculum and structures address their political and social concerns and pedagogical vision. Prerequisites Prerequisite: Open to junior BFAAE students only or permission of instructor.	Class Number 1815	Credits 3	Department Art Education Area of Study Art/Design and Politics, Community & Social Engagement, Teaching Location Sharp 403
Doing Democracy	3125 (002)	Sarah Ross	Tues 12:15 PM - 3:00 PM In Person
Description What egalitarian ideals have shaped our conception of public education? How has the promise of democratic schools been undermined by white privilege, racism, class-based discrimination, inequitable funding, colonialism, patriarchy, and disregard for the human impact on the natural world? This course builds a foundation for understanding the politics of schooling by exploring the struggle for democratic education in Chicago, contextualized by contemporary global decolonial practices in education. Students will consider how shifting conceptions of schooling are responses to the contemporary cultural moment¿recognizing how curriculum supports the beliefs and needs of the status quo as well as how curriculum might critique and propose new ways of being as individuals and as societies. The course explores a broad range of histories, philosophies, and approaches to schooling, including Freedom Schools, Native American boarding schools, transformative justice in education, play and free child movements, teacher-led movements, environmental studies, and the fight to defend ethnic studies programs as well as attempts to re-segregate and privatize public schools. Artists, designers and scholars to be studied include Tonika Lewis, Eve Ewing, Elizabeth Todd-Breland, Jose Resendiz, Borderless Studios, Interference Archive and Alexis Rockman. Readings from the field of art education by Doug Blandy, Laurie Hicks, and Mark Graham will trace the emergence of eco-art and place-based art education curriculum. Field trips include visits to school sites, Chicago Board of Education meetings and exploration of CBOE archives. Course assignments include short response papers and course readings. Students conduct and report on six hours of observations in schools, sites of school decision-making, and in places where people attempt to build democratic processes related to schools. Students will conduct independent research on topics related to contemporary issues and schooling. Each student will prepare and present a culminating project proposal for a school whose curriculum and structures address their political and social concerns and pedagogical vision. Prerequisites Prerequisite: Open to junior BFAAE students only or permission of instructor.	Class Number 1816	Credits 3	Department Art Education Area of Study Art/Design and Politics, Community & Social Engagement, Teaching Location Sharp 404
Package Design	3131 (001)	Jacob Ristau	Thurs 9:00 AM - 3:00 PM In Person
Description Students produce simple and complex three-dimensional studies. Principles of abstraction combined with packaging construction techniques serve as the basis for developing solutions. A variety of assignments are given that explore the integration of typography, image, and form. Prerequisites Prerequisite: VISCOM 2001 and VISCOM 2011.	Class Number 1792	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Product Design Location Sharp 1116
Adv Writ:Novella/Long Story	3140 (002)	Kathie Bergquist	Tues 12:15 PM - 3:00 PM In Person
Description By seriously examining and editing fiction written by others (i.e. measuring and helping advance the success of a fiction according to their authors' intentions), writers not only develop a greater capacity to strengthen their own work, but a clearer understanding of their own literary values. In this workshop, students will turn in a one long story or novella (40-100 pages) for critique, and closely read and critique novellas and long stories by their classmates. Focusing primarily on style and structure, we will each make it our goal to help authors improve their work through line-editing and in-class discussion, and always in accordance with the authors? perceived intentions. We will, as well, read published novellas, and reverse-engineer them to determine the ways in which they function.	Class Number 1821	Credits 3	Department Writing Location Lakeview - 803
Advanced Writing Workshop	3140 (003)	Adithi Chandrashekar	Thurs 3:30 PM - 6:15 PM In Person
Description Course topics vary by term and instructor. See topic description for more information.	Class Number 1825	Credits 3	Department Writing Location Lakeview - 803
Mathematical Thinking	3151 (001)	Elizabeth Freeland	Tues 3:30 PM - 6:15 PM In Person
Description This course surveys various ideas in math in search of an understanding of what mathematical thinking is. The aim is to consider the underlying thought patterns of a particular math topic. What is that type of math used for? Why and how did it develop? What does it help humans do? What does it tell us about how humans think abstractly? Topics typically include deductive reasoning and logic, coding, geometry and the link to algebra and music, proofs, probability and statistics, symmetries, tilings. Classes are typically run in an interactive lecture style. Students work many steps and examples along with the lecture. This allows students to use their own experience to learn of the strengths, weaknesses, and mental leaps found in the various topics. Students will look for connections between different topics and their use, and also for the use of mathematical thinking in their own lives and work. Prerequisites Prerequisite: First Year English requirement.	Class Number 2262	Credits 3	Department Liberal Arts Location Lakeview - 203
The invisible Cinema: Asian American Cultural Diaspora	3153 (001)	Tatsu Aoki	Tues 12:15 PM - 3:00 PM In Person
Description A marginal cinema and history; a course designed for an undergraduate level art history. This course looks at Asian American Cinema experience and historical development as Asian American ethnic cultural diaspora and visionally representations. From political to imaginary, this course will look at works of Asian American representation through cinema and examine the Asian American & pacific Islander American experience as told though cinematic expression such as documentary, short films, feature length narratives, experimental films and mainstream Hollywood releases. Along with weekly viewings of films and excerpts, the course will also discuss Asian American collective identity and social issues, historical background, economy of film production, racism, negative stereotyping, Hollywood whitewashing, cultural appropriation, and media activism. Historically significant artists, filmmakers and producers will be presented for weekly discussion. Some of the artists introduced in the class are: the matinee idol Sessue Hayakawa (1889?1973), to Anna May Wong (1905?1961), Winifred Eaton Reeve, Renee Tajima, Steven Okazak, Wayne Wang, Kelly Saeteurn, Quentin Lee, Justin Lin and others. Weekly viewings of films and journals, One Midterm assignment and one final Paper. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1039	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Community & Social Engagement, Playwriting/Screenwriting Location MacLean 1307
History of Manga	3173 (001)	Ryan Holmberg	Mon 6:45 PM - 9:30 PM All Online
Description This course offers a survey of the history of manga (Japanese comics) from its premodern predecessors to the present. Beginning with narrative picture scrolls in the medieval period, it will touch on forms of humor and political cartooning in the 19th and early 20th centuries, before moving onto multi-page stories, serials, and standalone books within the serially paneled comics medium. Related developments in non-Japanese comics and media like film, animation, illustration, and painting will also be considered. Among the major artists to be considered in this course are: Hokusai, Tagawa Suiho, Tezuka Osamu, Tatsumi Yoshihiro, Shirato Sanpei, Tsuge Yoshiharu, Hagio Moto, Otomo Katsuhiro, Takahashi Rumiko, and Tagame Gengoro. Students will be required to complete weekly readings, including translated manga and historical/interpretive essays, in addition to occasional reading responses, a research paper, and a final exam. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1055	Credits 3	Department Art History, Theory, and Criticism Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location Online
LH:Nonviolence: Theory and Practice	3190 (002)	Todd S. Hasak-Lowy	Tues 12:15 PM - 3:00 PM In Person
Description This course offers an introduction to the theory and practice of nonviolence. Students will study nonviolence as a philosophy of social and political change, in large part by reading the writings of important nonviolent theorists and activists, including Mohandas Gandhi, Martin Luther King, Jr., and Vaclav Havel. We will also explore the history of specific nonviolent movements, in which this theory has been applied and tested, with special focus on the American Civil Rights Movement of the 1950s and 1960s. In their own project, students will investigate the potential and limits of nonviolent change by researching other nonviolent movements in order to answer questions that arise during our study of this rich, complex topic. Prerequisites Prerequisite: First Year English requirement.	Class Number 1484	Credits 3	Department Liberal Arts Location MacLean 620
LH:Speaking Images/Visual Texts	3190 (005)	Pamela Barrie	Fri 8:30 AM - 11:15 AM In Person
Description From hieroglyphs to haiku?when do images function as words, words as images? Where do word, image and idea meet, and what are the potentials for communication and artistic expression? From the Renaissance fad for emblem poems, to the Asian-inspired poetics of the 20 th century Imagists, these questions have arisen a number of times in the history of the alphabetic cultures, as well as those employing other forms of graphic notation. In this course, we study a diverse range of verbal/visual traditions and movements, the philosophies and theories behind them, and their cultural and aesthetic aims and achievements. Students write a series of short essays in response to the course materials, and also do independent research for a presentation and paper on a particular aspect of the topic. Prerequisites Prerequisite: First Year English requirement.	Class Number 2105	Credits 3	Department Liberal Arts Location MacLean 816
LH:Ghost Poetics	3190 (006)	Zachary Tavlin	Fri 12:15 PM - 3:00 PM In Person
Description Few cultures anywhere in space and time have not taken haunting seriously. Ghosts fill literary and historical space, provoking fear and desire, revenge fantasies and death wishes. This course will draw from poetic traditions spanning the globe and human history in order to experience (at secondhand, at least) and contextualize occult, spiritualist, gothic, and spectral aesthetics as recurring facts of cultural history. Readings from a wide range of global poetry will be supplemented by related non-literary materials (for example, spirit photography and heretical religious tracts) and some contemporary theory that falls under what has been called the 'spectral turn' in cultural criticism. We will look at the ways ghosts and hauntings construct and form subjectivity, both socially and individually. If the dead always return, and history always repeats, how do different traditions conceive ghostliness? In what way are socio-political specters?racial figures, the murdered or 'disappeared,' witches and other types at the margins?dealt with, radically accepted, sheltered, or eliminated in poetry? Is poetry always a matter of haunting? Prerequisites Prerequisite: First Year English requirement.	Class Number 2106	Credits 3	Department Liberal Arts Location MacLean 920
LH:Marxism, Art, and Culture	3190 (008)	Zachary Tavlin	Tues 12:15 PM - 3:00 PM In Person
Description Marxism isn't just about the 'real world' critique of capitalism and the potential rise of communism. Many thinkers and critics who have written in the wake of Karl Marx have tried to articulate what it means (and why it's important) to read like a Marxist, to understand literature, art, and all the rest of human culture as a historical expression of the human condition under capital. This course serves as an introduction to Marxism and Marxist aesthetics, literary criticism, and cultural critique. We will begin by reading Marx and Engels, and then spend most of the semester considering core concepts as they develop over the subsequent century and a half of Marxist art, literary, and cultural criticism. We will ask questions like: what is the relationship between narrative representation, socio-political life, and its underlying economic forces? Do artworks produce autonomous worlds and meanings or are they entirely shaped by capitalism and class society? How do artifacts like novels, poems, theatrical texts, films, or visual artworks theorize history and society? What do the rise of specific forms, genres, and popular cultural practices tell us about social history? To what extent is it useful to read like/as a Marxist (and are there limitations in doing so)? Prerequisites Prerequisite: First Year English requirement.	Class Number 2157	Credits 3	Department Liberal Arts Location Lakeview - 205
Truth, Perception and Story-Telling in Artists' Books	3191 (001)	Alex Karenina Kostiw	Tues 9:00 AM - 3:00 PM In Person
Description Stories are a fundamental way that we share and understand information to make meaning. Storytelling, then, is in part an investigation of 'truths' of various realities that shape how we see the world. The intersection of content, internal narrative structure, and physical form, storytelling can illuminate 'truths' in ways that cause us to more deeply examine our perceptions, ideas, and beliefs. This course focuses on notions of truth in expression: how a fictional approach can express emotional truths; how multiple and contradictory views of a situation can reveal a truth; and how perceptions and beliefs can be called into question through story construction. A selection of readings and works, as well as visits to the Joan Flasch Artists' Book Collection, will provide examples of traditional vs. nontraditional, linear vs. nonlinear, and fiction vs. nonfiction narratives. Together with exercises in paper-based forms, they are starting points for exploring physical structures, methods, and devices of narrative discourse. The course treats the book form in broad terms: sequencing that reveals content or meaning over time. In 3-4 projects, students will develop their own content, work within project parameters to construct stories through image and/or text, and experiment with possibilities in narrative structure and form, whether paper-based or in other media. Prerequisites Prerequisite: VISCOM 3001	Class Number 1809	Credits 3	Department Visual Communication Design Area of Study Digital Communication Location Sharp 1217
Top: Environmental Justice in Literature & Film	3192 (001)	Jane Robbins Mize	Mon 12:15 PM - 3:00 PM In Person
Description In this course, we will examine how a variety of media¿from bestselling books to experimental films¿have represented and contributed to environmental justice movements. From Silent Spring to Standing Rock, we will engage with texts and films that use subversive storytelling to resist environmental degradation and confront the climate crisis. Our syllabus will focus on Black- and Brown-led movements in North America while also interrogating the meaning and scope of environmental justice worldwide. Throughout the semester, students will also have the opportunity to create small- and large-scale publications that communicate with and about environmental justice movements¿from zines to Tik Toks to protest banners. Ultimately, through our readings, screenings, discussions, and assignments, we will think through the social, ethical, and political implications of making media about the environmental crisis.	Class Number 1483	Credits 3	Department Liberal Arts Area of Study Community & Social Engagement, Economic Inequality & Class, Sustainable Design Location MacLean 920
Comics of the Fantastic	3201 (001)	Anya Pauline Davidson	Thurs 3:30 PM - 9:15 PM In Person
Description Horror, Science Fiction and Fantasy comics began as popular entertainment, intended to sell units on newsstands with lurid cover art and shocking story titles, but artists have always used the genres to investigate such complex topics as identity, illness and the body, and to lay bare the structural forces behind racism, sexism and political oppression. Students will read some classic works as well as a handful of contemporary pieces that use genre as a jumping-off point. Throughout the class, they will make a number of short comics that investigate contemporary life through the lens of the fantastic, to be collected and presented in the form of a printed zine. Prerequisites Pre: PTDW 2002 or Grad Student	Class Number 2122	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Narrative Location 280 Building Rm 306
Intermediate Comics	3201 (002)	Kevin Huizenga	Wed 9:00 AM - 3:00 PM In Person
Description This intermediate studio will investigate specific topics, genres, techniques, and subjects in comics. The field of comics is a wide and expansive one, this course is intended for students who have comics experience and are looking to explore more specifics in their practice while simultaneously strengthening their cartooning. Contemporary comic readings, critical essays, and subject based histories will accompany this course. Students can expect multiple short projects that focus on a specific aspect or technique of the course topic. Prerequisites Pre: PTDW 2002 or Grad Student	Class Number 2123	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Narrative Location 280 Building Rm 306
Discoveries in Physics	3204 (001)	Elizabeth Freeland	Thurs 3:30 PM - 6:15 PM In Person
Description This course investigates the process of discovery in science, and in particular in physics. The historical and contemporary physics experiments we will study have led to some of the most profound insights we have about the natural world, be it on the largest scales or the smallest. The discoveries typically studied include: the search for aether, the discovery of pulsars, the discovery of the Higgs particle, and parity violation. Contemporary topics vary but may include tests of the speed of light, the measurement of gravity waves, or the imaging of black holes. Students will learn the background physics and context necessary to understand the experiments and their results. Additionally, we investigate the process of scientific discovery, the mindset of scientists, and the difficulties and the payoffs of research. We evaluate the culture of science, how that creates and is created by scientists. Finally, we consider the influence of awards, the general public, and the media on scientists, their discoveries, and our perception of them. Assignments include weekly homework reviewing factual material, several guided-journal writings, several in-class labs, two exams, and a short final presentation on a student chosen topic.' Prerequisites Prerequisite: First Year English requirement.	Class Number 1682	Credits 3	Department Liberal Arts Location Lakeview - 1503
Physics for Our Changing Planet	3206 (001)	Elizabeth Freeland	Thurs 12:15 PM - 3:00 PM In Person
Description The mitigation of and adaptation to the challenges of today's world relies heavily on our scientific understanding of nature and the universe we live in. In this course, we will look at specific areas of physics - energy, radiation, fluid, thermodynamics - and investigate how they relate to our changing planet. We will look at energy production such as solar, geothermal, wind, nuclear; the physics of extreme weather, for example hurricanes and fires; and tipping points or positive-feedback loops. We will also investigate how understanding the natural world can gives us ways to work with it, e.g. passive solar systems, broad levees, mitigation of urban heat islands. Not all topics will be covered in each class, as flexibility will be allowed for student interest and current events. The course includes regular homework covering factual information, readings for discussion, some hands-on work, and a short research project. Prerequisites Prerequisite: First Year English requirement.	Class Number 2261	Credits 3	Department Liberal Arts Location Lakeview - 1503
Astronomy	3210 (001)	Lucianne Walkowicz	Tues 6:45 PM - 9:30 PM In Person
Description This is an introduction of the study of astronomy through a combination of observation and classroom instruction. Topics include the appearance of the night sky, seasonal constellations, the moon and planetary motions, the seasons, astronomical telescopes, stellar astronomy and evolution, and cosmology. One or two classes at the Adler Planetarium are planned. Prerequisites Prerequisite: First Year English requirement.	Class Number 2181	Credits 3	Department Liberal Arts Location Lakeview - 203
Western Music: Medieval To Mozart	3210 (001)	Katarzyna Grochowska	Tues 3:30 PM - 6:15 PM In Person
Description This course surveys over 2,000 years of music in Western civilization. Historical, cultural, and social contexts are studied as they pertain to the music. After an introduction to the Greeks (8th century BCE), music such as medieval chants, motets, Renaissance masses, madrigals, Baroque concertos, operas, and Classical symphonies (ca. up to 1800) are studied. Lectures trace the changes from vocal to instrumental practices with closer looks at some representative period instruments. Biographies are used to demonstrate social, educational and geo-political changes, which shaped the final results of composers' creativity: music. European musical centers -- Paris, Venice, and Vienna -- and their musical establishments receive special attention. Students learn a macro-level music vocabulary and are encouraged to use it in their discourse. Each lecture is structured around a composition that exemplifies the most salient features of a particular period. Listening and reading is required before each lecture. Students are assigned two short essays (6 pages each) as well as a midterm and a final exam that focus on listening skills and understanding/usage of music vocabulary. Prerequisites Prerequisite: First Year English requirement.	Class Number 2156	Credits 3	Department Liberal Arts Location MacLean 617
Search for Life in Universe	3211 (001)	Lucianne Walkowicz	Wed 6:45 PM - 9:30 PM In Person
Description Finding alien life across cosmic distance has challenged the limits of human imagination and technology for millenia. In this course, we will look at the fundamental questions that animate the search for life beyond Earth, delve into the scientific methodologies that we use to detect and recognize life, and unpack the sticky social questions of what it means to search for life (and what happens if we succeed!). Students will emerge understanding the many technical approaches to finding alien life, the ways human social values and pressures affect the pursuit of these methods, and an appreciation for the ways in which the search for alien life is intertwined with the study of life on our own planet. Last but not least, this course aims to help students contextualize reports and announcements about discoveries related to the search for life, and ask questions that will enable them to understand the significance of those reports. Prerequisites Prerequisite: First Year English requirement.	Class Number 1684	Credits 3	Department Liberal Arts Location MacLean 920
Letterpress Broadside Editions	3211 (001)	Martha Chiplis	Tues 9:00 AM - 3:00 PM In Person
Description The poster (broadside) has a rich heritage in culture, design, and art. Some of the forms that will be explored in this course are political and social justice posters, advertising window cards, public notices, music posters, magician's joke cards, and the work of contemporary letterpress printers. Students will be exposed to the history, layout structures, and graphic vocabularies of the poster format via lectures, handouts, video documentaries, and visits to local collections such as the Newberry Library. Through instructor demonstrations and student practice in the well-equipped SAIC letterpress studio, students will explore the relationship between form and content in design, become familiar with the names and parts of type, learn how to set type correctly, how to print well, and more. Students will develop their own contemporary interpretations of the poster form by writing, designing, revising, and printing broadsides via letterpress. A convergence of old and new technologies - wood and metal type, relief matrices, and the reproductive capabilities of digitally-based photopolymer - will be used.	Class Number 1800	Credits 3	Department Visual Communication Design Area of Study Books and Publishing Location Sharp 1308
Western Experimental Music: Disrupting the Canon	3213 (001)	Allie n Steve Mullen	Wed 6:45 PM - 9:30 PM In Person
Description A critical survey of Western music from 1950 to the present, this course investigates the western experimental music tradition with a focus on issues of representation. Where are the women and BIPOC composers in studies on western experimental music? What are the implications of classifying certain forms of experimental music over others as `classical¿ music and `fine art¿ music? What do these classifications tell us about cultural values, power, and the privileging of certain musics and voices over others? As we identify the supposed `canonic¿ figures of the period, the techniques they used, the processes they employed, and the creative motivations that drove them, we will note the collapse of tonality, and the influence of popular and `world¿ music styles on Western `art music.¿ We will look at the role of `silence¿ in music, aleatoric or `chance¿ music, total serialism, musique concrète, minimalism, jazz, emerging popular styles, and the appropriations of Black American, Pacific Islander, and Hindustani music traditions. We will study the music and thinking of composers like John Cage, Karlheinz Stockhausen, and Steve Reich, while asking ourselves why so much more has been written about their work than the work of composers like Daphne Oram. We will also discuss why the works of saxophonist John Coltrane and rapper Kendrick Lamar are not typically classified as 'art' music in Western music studies. The course includes weekly reading and listening, 3 short writing assignments as well as experimental creative analysis, a term paper, and an in-class presentation. Prerequisites Prerequisite: First Year English requirement.	Class Number 1474	Credits 3	Department Liberal Arts Location MacLean 617
Cont Music: Modern Composers	3215 (001)	Emily C. Hoyler	Mon 8:30 AM - 11:15 AM All Online
Description This is a course on contemporary art music: its history, philosophy, performance techniques, and interdisciplinary worlds. Its aim is to enjoy, explore, analyze, critique, expose, and learn about Western art music and modern composers from the turn of the twentieth century to the present day. The focus is on experimental music, composers, musicians, and conceptualists. Gender, race, class, and privilege are explored as they pertain to the career of the professional artist. Course objectives include building strong listening skills and acquiring the vocabulary to speak and write about music and its cultural contexts effectively. Screenings and viewings will vary but will typically include examples of works by musical artists such as Laurie Anderson, Cathy Berberian, John Cage, Wendy Carlos, Philip Glass, Pauline Oliveros, Terry Riley, and Arnold Schoenberg. Readings will also vary but will typically include works by musicologists such as Daniel Albright, Joseph Auner, Mark Katz, and Carol Oja, as well as writings by composers about their own music. Topics will include modernism, expressionism, atonality, technology, indeterminacy, minimalism, performance art, and experimental opera and theatre. Students should expect to write 15-20 double-spaced pages over the course of the term, including revisions based on instructor and peer feedback. Assignments may include a close listening essay and an original research paper. Students will present a 10-minute oral presentation on their research paper. Prerequisites Prerequisite: First Year English requirement.	Class Number 1469	Credits 3	Department Liberal Arts Location Online
Motion Graphics and Visual Effects	3215 (001)	Claire Fleming Staples	Tues 3:30 PM - 9:15 PM In Person
Description Students learn a wide range of post-production digital techniques for 2D animation, compositing (layering, collaging), and creating visual effects for video productions. Students produce projects that incorporate manipulated still images, animation, desktop video, and audio. Those who are intrigued by this kind of image manipulation will find the capabilities of the software dynamic and inspiring. Screenings and analysis focus on the use of such techniques in the world of video art, television, and film. Prerequisites FVNM 2000 or FVNM 5020	Class Number 1447	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging Location MacLean 917
Cont Music:HipHop Sonic Cultur	3215 (003)	Andrew Lindsay	Wed 8:30 AM - 11:15 AM In Person
Description This course will provide students with all the tools necessary to make provocative, risk taking arguments about the most popular art form in the world. The course will teach students to analyze rap music holistically - students will first develop a musical vocabulary sufficient to make analytical arguments about any style of hip-hop they encounter. Students will be required to listen to a wide variety of music and to listen actively for the core musical elements of rap - from rhythm, to pattern analysis, to sampling, and more. Subsequently we examine rap from a textual perspective. We begin with the form of the lyrics - from rhyme scheme, to metaphor, to narrative perspective - and proceed from there to study the larger, always-provocative narratives that have dominated the history of hip-hop. Rap music is a once-underground, now wildly popular art form that runs the gamut from bubblegum pop to avant garde; students will leave this course prepared to make educated arguments about the most influential art form of their time. Prerequisites Prerequisite: First Year English requirement.	Class Number 2114	Credits 3	Department Liberal Arts Location MacLean 617
Advanced 2-D Computer Animation	3216 (001)	Pablo Keith Lorenzana	Tues 9:00 AM - 3:00 PM In Person
Description This course continues a rigorous exploration of After Effects as a motion graphics, animation, and compositing tool for both 2D and 3D applications. A variety of techniques including Flash digital hand drawn animation, rotoscoping from live-action, and integration of 3D models from Maya are implemented. This course draws upon a wide range of animated sources from commercial to experimental, and requires a completed short animated film demonstrating technical proficiency as well as conceptual depth. Prerequisites Prerequisite: FVNM 3105 or permission of instructor.	Class Number 2239	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation Location MacLean 714
Experimental Technology Lab for 3D Animation	3218 (001)	Alan Kwan	Wed 9:00 AM - 3:00 PM In Person
Description This course explores new ways of capturing, rendering, and directing for 3D animation production enabled by emerging technologies. Students will primarily work with the game engine ¿Unreal¿ and learn to use a range of techniques to capture, process, and render environments, objects, and people. These techniques include camera tracking, gaussian splatting, motion capture, and photogrammetry. We will cover the technical foundation and experimental workflows of these technologies and explore how they can inspire new forms of aesthetics for computer-generated moving images, hybrid forms of cinematography, and novel ways of working with actors and performers for 3D animation production. We will watch different forms of moving image works that explore the poetic potentials of emerging technologies. These works include experimental animations, music videos, installations, and video games. We will look at the creative use of technologies in these productions, learn about the practical production scenarios, and discuss the relationships between the technologies, directing, and cinematic languages. Some of the artists and directors we will discuss include Harun Farocki, Antoine Chapon, Hayoun Kwon, Deniz Tortum, and Claire Hentschker. Students should expect to produce a mid-term project and a final project. They are encouraged to embrace a DIY spirit to develop artistic and technical concepts that challenge conventional ideas in 3D animation and moving image productions. Prerequisites Prerequisite: FVNM 2015 or FVNM 5020 or FVNM 5025	Class Number 1461	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging Location MacLean 519
Large Scale Cinematic Production	3223 (001)	Meredith Zielke	Thurs 9:00 AM - 3:00 PM In Person
Description This advanced-level production course introduces students to two methodologies of large-scale moving-image making--hierarchical and collaborative. Following a project-selection process based on a submitted student proposals/scripts, students will perform roles as part of a production team, shifting responsibilities between 2 selected projects. Projects created will explore pre-production and production in traditional or hybrid narrative, documentary, experimental and/or installation-based forms. The course will include site-visits and in-class visits from production and curatorial specialists. Prerequisites Must take 2 3000 FVNM or SOUND classes	Class Number 2240	Credits 3	Department Film, Video, New Media, and Animation Area of Study Collaboration, Narrative Location MacLean 1304
Everyday Electronics	3231 (001)	Brett Ian Balogh	Wed 12:15 PM - 3:00 PM In Person
Description Much of our everyday experience is mediated by electronics. From toasters to smart phones, the devices we interact with vary widely in their function and complexity, but all are composed of a set of common electronic components and function in ways determined by the connection of these components. This course provides an introduction to electronic theory as it relates to the connection of these components. Topics to be covered will include but are not limited to reading schematics, DC and AC circuits, passive and active devices, filters, amplifiers and oscillators. Students will not only learn theory, but will also learn by constructing their own circuits by hand and by using circuit simulation and analysis tools in this laboratory course. Student learning will be assessed through weekly homework and laboratory assignments as well as several exams. Prerequisites Prerequisite: First Year English requirement.	Class Number 1683	Credits 3	Department Liberal Arts Area of Study Art and Science Location Lakeview - 1503
Top: Arab Pop Divas	3252 (001)	Aliah Ajamoughli	Thurs 12:15 PM - 3:00 PM In Person
Description From Syria to Germany, many Arabs across the globe are united by a core musical practice: every morning they greet the sun to the sounds of Lebanese pop diva Fairuz and greet the moon to the masterpieces of Egyptian superstar Umm Kulthum. Even though these divas reached their musical prime nearly fifty years ago, for many Arabs their music still remains a pinnacle of excellence in the music industry today. This course examines the impact of Arab women and their musical legacy in a culture often Orientalized as misogynistic, backwards, and oppressive. Drawing from ethnomusicology, performance studies, and gender studies, this course takes a radical approach to understanding the nuances of an Arab pop diva and deconstructs Orientalist understandings of Arab culture through musical study. We will not only listen closely to the brilliance of Umm Kulthum and Fairuz but also consider the cultural influence of their predecessors like Asmahan and the innovations of their successors like Nancy Ajram. Throughout the course, students will question why the societal impact of pop music divas is often devalued across cultures and explore these divas as drivers of liberation and political change. By the course¿s conclusion, students will hold a more nuanced understanding of not only Arab culture but also their own culture¿s pop music. Course assignments will include self-reflexive listening journals and a research project on the student¿s Arab pop diva of choice. No previous musical knowledge or Arabic speaking skills are required for this course. Prerequisites Prerequisite: First Year English requirement.	Class Number 2137	Credits 3	Department Liberal Arts Location MacLean 617
Music and Sexuality	3255 (001)	Emily C. Hoyler	Fri 8:30 AM - 11:15 AM All Online
Description From fin-de-siecle decadence to pop feminism, this course explores issues and representations of sexuality in twentieth-century western music, including opera, musical theater, instrumental music, art song, and popular music. Themes include modernist thought, sonic constructions of sexuality, and gendered roles in music. Drawing from musicology and gender studies, this course will address diverse aspects of the identities of composers and artists through examining authorship, expression, and performance. Course objectives include building strong listening skills and acquiring the vocabulary to speak and write about music and its cultural contexts effectively. Screenings will vary but will typically include examples of works by musical artists such as David Bowie, Benjamin Britten, Ornette Coleman, Madonna, Cole Porter, Prince, Ma Rainey, and Rodgers & Hammerstein. Readings will include works by authors such as Jane Bernstein, Philip Brett, William Cheng, Tammy L. Kernodle, Susan McClary, Sheila Whiteley, and Stacy Wolf. Students should expect to write 15-20 double-spaced pages over the course of the term, including revisions based on instructor and peer feedback. Assignments may include a close listening essay and an original research paper. Students will present a 10-minute oral presentation on their research paper. Prerequisites Prerequisite: First Year English requirement.	Class Number 1467	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location Online
History of Opera	3260 (001)	William Harper	Tues 8:30 AM - 11:15 AM In Person
Description Often called the ultimate art form, the operatic spectacles of music, storytelling, and ritual were at the core of varying European cultures during the 18th, 19th and 20th centuries. As such, they influenced and generated many innovations in literature, fashion, visual arts, dance, and music. In this course, we will screen operas such as Mozart?s Don Giovanni and The Magic Flute; the 'gesamtkunstwerk' operas of Wagner such as The Ring of the Nibelungen and Parsifal; examples of the French 'Opera Comique' such as Bizet's Carmen; the Italian opera of Verdi, La Traviata and Rigoletto; the 'verisimo' operas of Puccini, La Boheme, Il Trittico, and Madame Butterfly; and Strauss' radical, early 20th century operas Salome and Elektra. We will also encounter contemporary operas by Kaija Saariaho, Meredith Monk, Phillip Glass and John Adams. The primary resources for our studies are the operas themselves. We will screen operas during each class, review the social and historical contexts for the operas, and examine the compositional and scenographic techniques of the various productions. Course work will include a short paper on each of the works screened and a mid-term and final exam on selected arias from the operas. Prerequisites Prerequisite: First Year English requirement.	Class Number 2113	Credits 3	Department Liberal Arts Area of Study Playwriting/Screenwriting Location MacLean 617
Advanced Virtual Flat to Form: Digital Patternmaking, Grading, Marker Making, and 3D Rendering	3260 (001)	Aubrie J. Meyer	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This course explores more advanced CAD processes for the fashion and apparel industry. Students learn applications used to address fabric characteristics, such as stripes/plaid, shrinkage, stretch, and block fusing. More advanced drafting functions will be used, creating entire garments through digital patterning, culminating in 3D rendering. This course also focuses on the Grading and Marker Making functions required for manufacturing. This course utilizes CAD software from Gerber Technology, helping companies around the world develop and manufacture products in the apparel, aerospace, furniture, automotive, packaging, and sign & graphics industries in 130 countries. Companies using this technology include Gap, Target, Liz Claiborne, Levi Strauss & Co., Lockheed Martin, Sara Lee, Toyota, Mattel, Hanesbrands, Theory, General Motors, and Cintas Corp. There will be practical exercises, applying patternmaking techniques, utilizing various software functions. Students will complete a final project of a unique design, presented in fashion fabric with 3D images. Prerequisites Virtual Flat to Form	Class Number 1386	Credits 3	Department Fashion Design Area of Study Costume Design, Product Design, Sustainable Design Location Sullivan Center 706, MacLean 917
Designer-Citizen	3292 (001)	Michele Y Washington	Mon 9:00 AM - 3:00 PM In Person
Description Critical pedagogy seeks to transform consciousness, to provide students with ways of knowing that enable them to know themselves better and live in the world more fully. In this course, we are committed to making a difference. We explore how design can be used to develop real-world projects that address issues rooted in social impact. Our classroom operates as an exploratory lab immersed in liberatory practices and participatory design techniques to craft solutions grounded in the principles of equity, empowerment, dignity, and justice. Projects are centered around collaborative community engagement from critiques, discussions, you will be challenged to create projects that interrogate art, design, and digital spaces, fostering inclusivity, and empowering communities. Challenging you to reimagine community engagement, asking, 'What If.' By the end of the course, you will have developed projects that embody the principles of social impact design. More importantly, advancing your understanding of liberatory and participatory practices, empowering you to make real-world differences as artists, designers, and changemakers.	Class Number 1801	Credits 3	Department Visual Communication Design Area of Study Art/Design and Politics, Economic Inequality & Class, Graphic Design Location Sharp 1217
Introduction To Philosophy	3300 (001)	Herman Stark	Tues 6:45 PM - 9:30 PM In Person
Description This course familiarizes students with basic philosophical skills: clear reasoning, examination of the soundness and validity of arguments, and development of consistent positions on certain philosophical issues. The course may be organized historically by studying the thought of major philosophers, beginning with Plato, and ending with the modern era (examples of figures studied: Plato, Aquinas, Descartes, Locke, and Nietzsche); thematically (studying major themes in philosophy such as free will and determinism, the existence of God, and the mind-body problem); or by school of thought (studying major trends in philosophy such as pragmatism, analytical philosophy, Marxism, existentialism, and phenomenology). Readings range from historical to contemporary sources, including the pre-Socratics, Plato, Aristotle, Augustine, Anselm, Aquinas, Descartes, Hume, Kant, Hegel, Heidegger, Quine, and Rorty. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams. Prerequisites Prerequisite: First Year English requirement.	Class Number 1470	Credits 3	Department Liberal Arts Location MacLean 620
Top:Critical Game Studies: Gaming the Systems	3300 (002)	Omie Hsu	Mon 8:30 AM - 11:15 AM In Person
Description This is a class where we will think about games with respect to social and political life; it is not a game design course. It puts Game Studies and Critical Theory in conversation with each other in order to invite questions and thought about what the formal, aesthetic, historical, sociopolitical, and affective dimensions of games could teach us about the formal, aesthetic, historical, social, and affective dimensions of politics. We will read games across genre and type - from First-Person Shooter video games to collaborative board games to Role-Playing mobile games to drinking card games (without the drinking). We will also read theory across disciplines and fields - from theories of embodiment (like queer theory or race and ethnicity studies) to debates in game studies (like ludology v. narratology) to concepts behind design elements (like game mechanics or player interaction) to questions of contemporary sociopolitical life (like critiques of capitalism or Science and Technology Studies). Also expect to play some games and to write short, though regular, critical analyses. Prerequisites Prerequisite: First Year English requirement.	Class Number 1739	Credits 3	Department Liberal Arts Area of Study Class, Race, Ethnicity Location Lakeview - 202
Top: Afro-Asian Century	3300 (005)	Patrick Lynn Rivers	Wed 12:15 PM - 3:00 PM In Person
Description In 2003, Nikhil Pal Singh and Andrew F. Jones co-edited a special issue of positions, an insightful journal delving into the nuances of cultural critique with Asia and its diaspora at the center. Singh and Jones began with an underlying assumption. Specifically, if the 20th century was the American Century, the 21st century would be the century where Africa and Asia¿s historical links (economic, political, and especially cultural) would set the stage for the ascendance of two continents and their diasporas with both converging and diverging colonial pasts. This course is used to revisit this argument by assessing where Africa, Asia, and their diasporas are in the Afro-Asian Century. Course texts mostly consist of readings (scholarly, creative, and journalistic writing) and films that address African and Asian cosmopolitanism and power. This cosmopower unfolds mostly through music, film, kung fu, photography, dance, and literature. All texts will be available on Canvas. Evaluation is based on quizzes, a midterm and final exam, and a short final paper as capstone assignment. Prerequisites Prerequisite: First Year English requirement.	Class Number 1760	Credits 3	Department Liberal Arts Area of Study Class, Race, Ethnicity Location MacLean 111
Latinxs Studies	3301 (001)	Deanna Ledezma	Tues 3:30 PM - 6:15 PM In Person
Description This course introduces students to theories and methodologies foundational to Latinx Studies as well as current trends and debates in the field. Through close readings of assigned texts and classroom discussions, students will study the diverse social, economic, political, and cultural histories of Latines and Latinxs in the United States. The course integrates close textual analysis with in-depth discussions, equipping students with critical tools to analyze the social construction of race and ethnicity, patterns of migration and diaspora, the impacts of colonialism, modes of resistance and activism, and the emergence of pan-ethnic identities. Texts and assignments will vary each year. Readings may include book chapters and articles by Gloria Anzaldua, Frances R. Aparicio, Lilia Fernandez, Lawrence La Fountain-Stokes, Albert Sergio Laguna, Claudia Milian, Nancy Raquel Mirabal, and Barbara Andrea Sostaita, among others. Students should anticipate completing in-class writing exercises and reading responses, two short papers, and a final research-based essay and presentation on a topic of their choosing. Students¿ final projects will be organized into a class publication, with each student receiving their own copy at the conclusion of the semester. Prerequisites Prerequisite: First Year English requirement.	Class Number 1748	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality, Class, Race, Ethnicity, Economic Inequality & Class Location MacLean 620
Environmental Disasters	3302 (001)	Jackson Watkins	Thurs 3:30 PM - 6:15 PM In Person
Description Scientists now know that global warming is causing more hurricanes? or is it? This course will explore how environmental disasters ? both man-made and natural ? impact human society and the biosphere, and how they have changed in both frequency and intensity in response to climate change. Some relevant topics that this class will investigate include: heat waves and cold snaps, links between climate change and vectorborne diseases, tropical cyclones, tornadoes and severe thunderstorms, environmental impacts of natural gas fracking and oil spills, El Ni?o, long and short-term species extinction, ecosystem responses to climate change, and more. We will consider current news articles and relevant policy solutions/responses, and class work will involve group work, critical thinking, quantitative practice and analysis of scientific literature. Course work will include quantitative in-class assignments, relevant scientific readings, qualitative homework, quizzes, an exam and a final project.	Class Number 1705	Credits 3	Department Liberal Arts Area of Study Art and Science Location MacLean 608
Art of the 1980s	3310 (001)	Simon Anderson	Thurs 12:15 PM - 3:00 PM In Person
Description In assessing currents and concepts in contemporary art, this course examines the various elements in all media that have come to define postmodernism. The course places special emphasis on women artists during the 1980s, the European contribution to contemporary art, and the exploration of recent art in Chicago. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2094	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 203
Modern and Contemporary Japanese Prints	3311 (001)	Mami Hatayama	Thurs 3:30 PM - 6:15 PM In Person
Description This course surveys the history of Japanese prints of the late 19th and 20th centuries. Beginning from the last phase of the ukiyo-e woodblock prints, we will examine the two major art movements, shin hanga and sosaku hanga, and also some contemporary prints. The variety of expressions were cultivated by artists reviving and renewing traditional prints, reflecting social cultural changes, individual interests and styles, as well as by refining printing techniques. Alongside gaining understanding of historical developments, the course considers the wide array of ideas on what the print medium can characteristically express. The works we will examine range from the traditional print subjects such as landscapes or figures to completely abstract subjects such as emotions. Examples of the artists who might be studied include Hashiguchi Goyo, Ito Shinsui, Kawase Hasui, Kasamatsu Shiro, Yoshida Hiroshi, Yamamoto Kanae, Onchi Koshiro, Kawakami Sumio, Azechi Umetaro, Munakata Shiko, Hamaguchi Yozo, Saito Kiyoshi, Komai Tetsuro, Ikeda Masuo, and many others. Individuals, some artists' groups, and art magazines that were important to the development of the print history will be reviewed. There will be visits to the AIC to view the actual print examples of the artists we will study in the classes. Course work will vary but typically includes weekly reading, two writing assignments, presentation, and one exam. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2096	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Type Design and Lettering	3311 (003)	Mary Krysinski	Tues 9:00 AM - 3:00 PM In Person
Description Typeface design is a specialized sub-category of typography. Not every graphic designer designs type, every designer must be proficient in the more general topic of typography for their profession. Type design differs from typography because it involves the design and production of letterforms, which are a part of typography, but does not involve the details and setting of type in a format that conveys a particular message. This course is for students who want to learn the technical skills necessary to design a font that can be used in a professional setting, and with the software tools used by graphic designers. Students will learn about the history of type design, and explore various methods of letterform drawing, learning the minute details and characteristics required for legibility. This will be used as a basis for experimenting with different styles of letterforms to create their own font, and learn how to use the necessary software to publish their font for commercial use. Readings by type designers will be included: 'Designing Type' by Karen Cheng, and 'House Industries Lettering Manual' by Ken Barber are two of the books which readings will be taken from. 'Sign Painters: The Movie' is one of the movies that will be shown. Guest speakers from the Chicago area will be brought in. Students will be expected to produce one complete font design by the end of the semester. Before starting their font, smaller assignments will be given which involve different lettering techniques, researching and drawing a historical style of lettering, and semi-weekly readings. Prerequisites Prerequisite: VISCOM 2011 or a Graduate Student	Class Number 2172	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1117
Water:The Science of a Human Right	3312 (001)	Michele Hoffman	Wed 12:15 PM - 3:00 PM In Person
Description Welcome to Water! This is a 3-credit introductory course on the science of water, it's associated resources, the sustainable use and management of the global water supply, and a conversation and dialogue about global water conflict. Through this course you will learn about the chemistry of water, its form and function, impacts of the quality and quantity of water on human lives and the environment, aspects of human survival that depend on water and the proper disposal of wastewater, the importance of conserving water, and the impact that future policies and economic changes might have on the availability of water in the US and around the world. Prerequisites Prerequisite: First Year English requirement.	Class Number 1676	Credits 3	Department Liberal Arts Location MacLean 920
Existentialism	3320 (001)	David B. Johnson	Thurs 3:30 PM - 6:15 PM In Person
Description Existentialism has left a profound influence on contemporary Western thought, including philosophy, literature, film, theater, and graphic arts. It is a philosophical movement oriented toward two major themes - the analysis of human existence and the centrality of human choice. Existentialist conceptions of freedom and value arise from their view of the individual. According to Existentialist thinkers we are all ultimately alone, isolated islands of subjectivity in an objective world ,who have absolute freedom over our internal nature. Existentialism traces its roots to the writings of Søren Kierkegaard and Friedrich Nietzsche. As a philosophy of human existence, existentialism found its best 20th-century exponent in its foremost representative Albert Camus. Camus believed that the essence of human existence in freedom. He criticized the human tendency toward 'bad faith,' reflected in humanity's perverse attempts to deny its own responsibility and flee from the truth of its inescapable freedom. In this course, we will examine themes of subjectivity, individuality, freedom and meaning that are central to Existentialist philosophy. To arrive at these goals, we will turn to works of philosophy, literature and film. As part of the course we will practice the principles of persuasive writing by learning how to make claims, analyze and make arguments about the works we will be discussing. Prerequisites Prerequisite: First Year English requirement.	Class Number 1463	Credits 3	Department Liberal Arts Location MacLean 111
Top:Philosophy of Love	3330 (001)	Irina Ruvinsky	Mon 8:30 AM - 11:15 AM In Person
Description This course examines the role of love and relationality in human life. A basic, innate longing for association drives us in our various endeavors, and relationships permeate every aspect of human becoming. When we examine our love relationships we find trust, mutual reliance, reciprocity, and care, but also a tangle of strife, misunderstanding, angst, and longing for connection. We explore the nature of love through works of philosophy, literature and film. We investigate the distinction between eros, philia, and agape, and discuss ideas of love as a feeling, an action, or a species of ?knowing someone.? We evaluate several philosophical theories of romantic love, and question the tension between the individual?s desire for self-discovery and her responsibility towards others. We address the concept of love from the Platonic, Kantian, and existentialist perspectives. We also read work by Kierkegaard, Dostoyevsky, Nietzsche and De Beuvoir. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams. Prerequisites Prerequisite: First Year English requirement.	Class Number 1471	Credits 3	Department Liberal Arts Location MacLean 608
Top: AI and Critical Thinking	3330 (002)	Burkay Ozturk	Wed 8:30 AM - 11:15 AM In Person
Description Is there any role for philosophy and religion given the advancement of science? This and related questions motivate the course. We explore them by drawing on mythology, fiction, science fiction, poetry, religion, science, and philosophy. We first explore major world religions by studying their texts, doctrines, rituals, and traditions. The aim is to master core facts and dispel stereotypes. Next, we critically examine some key elements, assumptions, and implications of these religions, including religious language, the self, religious psychology, evil, artificial intelligence, and even time travel. Authors include J.J.C. Smart, David Lewis, John Hick, John Perry, Thomas Nagle, David Hume, Xenophanes, Aquinas, Richard Feynman, Ursula Le Guin, Larry Niven, Aldous Huxley, Emily Dickinson, Yasunari Kawabata, Fyodor Dostoevsky, and Hermann Hesse. Assignments vary, but they might include some or many of the following: weekly (daily for Summer semester) reading responses, quizzes, papers, and exams. Prerequisites Prerequisite: First Year English requirement.	Class Number 1481	Credits 3	Department Liberal Arts Location Lakeview - 205
Top:Environmental Ethics	3330 (007)	Emily Dupree	Thurs 3:30 PM - 6:15 PM In Person
Description Environmental Ethics is the study of the ethical connections between our environment and its inhabitants, including ourselves. While ethics has traditionally focused on how people should treat other people, environmental ethics expands this inquiry into questions about how we should treat non-human animals and the environment itself. On what grounds might these kinds of arguments be made? And are these terms -- like 'the environment,' 'nature,' and 'animals,' -- as straightforward as they first appear? In this course we will focus on these foundational questions in environmental ethics, paying particular attention to the foundational philosophical concepts, how they interact with real-world examples here in Chicago, and what duties we might be under as citizens of this globe. Prerequisites Prerequisite: First Year English requirement.	Class Number 1494	Credits 3	Department Liberal Arts Location Lakeview - 202
Top: Human Nature and Social Constructs	3330 (008)	Isaac Shur	Thurs 3:30 PM - 6:15 PM In Person
Description This course treats artificial intelligence not as a marvel of technology but as a test of human judgment. Students learn to dissect the claims, metaphors, and narratives that surround AI, ranging from the myth of ¿thinking machines¿ to the ways algorithms quitely shape taste, belief, and behavior. Our aim is not to celebrate or fear AI, but to learn to think better in its midst. We begin with the foundations of reasoning and evidence: how to tell a good argument from a bad one, how bias lurks in data and language, and how epistemic shortcuts can distort understanding. We then move to the questions of creativity, authorship, and moral agency: When an AI imitates, who is responsible for what it outputs? When it assists in making art or policy, whose judgment counts? Near the end, we turn our attention to the cognitive, political and economic impact of AI on our societies. Throughout, students practice analysis: breaking down complex claims, questioning assumptions, tracing causal chains, and articulating defensible positions amid uncertainty. Readings and exercises will draw from logic, epistemology, philosophies of technology & science, and media theory, paired with case studies from art, design, and contemporary culture. By the end of the semester, students will be able to recognize signs of rhetorical, textual and audio-visual manipulation, evaluate AI-generated material with disciplined skepticism, and construct arguments that withstand scrutiny. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams. Prerequisites Prerequisite: First Year English requirement.	Class Number 2152	Credits 3	Department Liberal Arts Location Lakeview - 203
Top: Ethics / Lit	3330 (009)	Alex Sarappo	Fri 8:30 AM - 11:15 AM In Person
Description Questions about how to live are central to the study of ethics. Similar questions are central to literature. Are works of literature, then, works of ethics? Our interrogation of this question will cover a varied terrain. We will start with a classic text in philosophical ethics, John Stuart Mill's Utilitarianism, paying close attention to argumentation and the way its arguments are designed to convince, before considering those same features in responses to that text from both Bernard Williams (a philosopher) and Ursela LeGuin (a fiction writer). We'll then think about Mark Twain's The Adventures of Huckleberry Finn--what have philosophers, like Jonathan Bennett, made of its central moral dilemma? How about fiction writers, like Percival Everett? We will then turn to J.M. Coetzee's The Lives of Animals, a novel with a sophisticated and much-debated moral issue at its heart, our treatment of nonhuman animals. Finally, we'll conclude with a study of the philosophy and novels of Iris Murdoch: what can her first novel, Under the Net, help us understand about her philosophy, in papers like 'The Idea of Perfection,' and what can, generally, a writer working within and between ethics and literature help us understand about what keeps the two disciplines apart, and what brings them together? Prerequisites Prerequisite: First Year English requirement.	Class Number 2150	Credits 3	Department Liberal Arts Location MacLean 920
Marx, Capitalism, and Human Flourishing	3330 (011)	Emily Dupree	Tues 3:30 PM - 6:15 PM In Person
Description Capitalism predominates over the world today. In this course, we will engage in a philosophical study of capitalism, using the writings of Karl Marx as our guide. We will consider his analysis of capitalism as an economic system that interferes with human flourishing, the material basis of its world-historical emergence, the ethical issues that arise under this system, and how we might understand theories of labor, globalization, exploitation, and alienation from both ancient and contemporary philosophical perspectives. Readings from this course will also include texts by Aristotle, Frederick Engels, Vladimir Lenin, Rosa Luxemburg, Frantz Fanon, Silvia Federici, and Nancy Fraser. Prerequisites Prerequisite: First Year English requirement.	Class Number 2386	Credits 3	Department Liberal Arts Location MacLean 816
Earth's Changing Climate	3340 (001)	Andrew H. Scarpelli	Tues 8:30 AM - 11:15 AM In Person
Description This course introduces you to the wonder that is the Earth system! Understanding the earth system involves viewing the atmosphere, hydrosphere (water), biosphere (plants), and geosphere (rocks) as interacting reservoirs of a complex system. In this class we will study the origin and history of the Earth and examine how the concepts of systems, cycles, and feedbacks apply to processes that involve water and ice, the dynamics of life, weather and global climate change. This class will give you a solid scientific basis for understanding the Earth as a system, appreciating the fragility of the environment, and confronting the complexity of climate change and global warming. We will consider current news articles, and policy solutions. Class work will involve group work, quantitative practice and critical reflection on Earth processes. Prerequisites Prerequisite: First Year English requirement.	Class Number 1690	Credits 3	Department Liberal Arts Area of Study Sustainable Design Location MacLean 920
Slowness and Speed: Seeing, Making, and Thinking in a World of Acceleration	3398 (001)	James Elkins	Wed 8:30 AM - 11:15 AM In Person
Description Slowness and speed are universally applicable problematics in the creation, criticism, and historical understanding of artwork, especially in modernity and in contemporary culture. This class will help students understand how to articulate possibilities for their work (as artists) and meanings of their work (as critics and historians) based on a very wide range of cultural and historical precedents. Tehching Hsieh, Marina Abramovi¿, Francis Alÿs, William Pope L., Janine Antoni, philosophy of speed and slowness, art criticism by Grigely, Clark, Elkins, and others. Project I: Slow Life/Fast Life ¿ Exercises and artworks based on perception, observation, and time-intensive processes. Project II: Slowness as Resistance ¿ Works that consider slowness as protest, political gesture, or embodied practice. Project III: Final Project + Artist Talk ¿ A culminating work synthesizing studio practice with art-historical/theoretical research. Prerequisites Must have completed First Year ARTHI Survey Requirement; Must enroll in PTDW 3398 at the same time	Class Number 2275	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Community & Social Engagement, Social Media and the Web Location 280 Building Rm 325
Slowness and Speed: Seeing, Making, and Thinking in a World of Acceleration	3398 (001)	Amy Vogel	Wed 12:15 PM - 3:00 PM In Person
Description Slowness and speed are universally applicable problematics in the creation, criticism, and historical understanding of artwork, especially in modernity and in contemporary culture. This class will help students understand how to articulate possibilities for their work (as artists) and meanings of their work (as critics and historians) based on a very wide range of cultural and historical precedents. Tehching Hsieh, Marina Abramovi¿, Francis Alÿs, William Pope L., Janine Antoni, philosophy of speed and slowness, art criticism by Grigely, Clark, Elkins, and others. ¿ Project I: Slow Life/Fast Life ¿ Exercises and artworks based on perception, observation, and time-intensive processes. ¿ Project II: Slowness as Resistance ¿ Works that consider slowness as protest, political gesture, or embodied practice. ¿ Project III: Final Project + Artist Talk ¿ A culminating work synthesizing studio practice with art-historical/theoretical research. Prerequisites Must have completed PTDW 2001; Must enroll in ARTHI 3398 at the same time	Class Number 2282	Credits 3	Department Painting and Drawing Area of Study Art/Design and Politics, Community & Social Engagement, Social Media and the Web Location 280 Building Rm 325
Molecular Media: Structure, Biochemistry, and Material Science	3414 (001)	Andrew H. Scarpelli	Tues 12:15 PM - 3:00 PM In Person
Description As artists, the use of novel media often allow artists to find new means by which to express themselves and explore their message and meanings. Understanding the chemical structures and properties of the materials and components of media often allows for more sophisticated implementation and ease of use. In this course, we will focus on understanding the chemical and biological features of a number of different materials and developing a familiarity with materials as a means of further understanding common materials, identifying sustainable practices, and incorporating chemistry and biochemistry into meaningful creation. Readings and screenings will vary but typically include peer reviewed articles from science journals, writings on material science and biochemistry, and alternative such as podcasts and online video series. Special focus will be on bio-materials. Course work will vary but typically includes weekly reading responses, a mid-term, and a partnered final project focusing on the properties and production of different materials.	Class Number 1679	Credits 3	Department Liberal Arts Area of Study Product Design, Art and Science, Sustainable Design Location Lakeview - 1503
Puppet Animation	3420 (001)	Shelley Lynn Dodson	Thurs 9:00 AM - 3:00 PM In Person
Description This class introduces students to the design, construction, and filming of 3D-puppet animation (stop motion) through a diverse range of materials and techniques. Students gain experience in making puppets, and learning lighting and cinematography. Through demonstrations and in class animating, students gain experience in animation techniques related to timing and performance. Practical, conceptual and artistic methods are explored. A variety of stop motion examples will be shown, from classic animators like Ray Harryhausen to more contemporary animators like Emma De Swaef and Marc James Roels. Past student work will also be shown as examples of creative and effective works of stop motion. An assignment will be given every week. Regular assignments will give students hands-on practice on a wide range of techniques. For the final assignment, students will need to create a presentation that will involve new character designs, concept art and storyboards for an eventual short puppet animation film. Prerequisites FVNM 2420 or 5020	Class Number 1422	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Costume Design Location MacLean 1408
Intermediate Animation: Sound to Image	3423 (001)	Matthew Marsden	Thurs 9:00 AM - 3:00 PM In Person
Description This course introduces methods of animating to a soundtrack and the relationship between dialogue, voiceover, sound and image. Animating to logged audio, students learn the most normative pipeline for creating animated images. Advanced camera movements and digital 2-D animation with backgrounds are also covered. Students complete weekly assignments that build toward a final project, an animation with sync sound. Various International Animated works will be screened and discussed, From independent artists to innovative television. Examples of literary works, and interviews and articles will be presented as they apply. Negotiating sound and silence, image, text, content, form in ones work, are an important element in this course. Students complete a two-week group lip-sync project, 4 weekly assignments, and a final 6 week project with sync sound. advanced or graduate students may make the weekly assignments part of their final. Prerequisites FVNM 2420 or 5020	Class Number 1423	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Communication, Game Design Location MacLean 714
Advanced Drawing for Animation	3430 (001)	Matthew Marsden	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description Students further develop 2-D drawing animation skills, with focus on complex movement, animating dialogue, and drawing with backgrounds. Drawings on paper are scanned into Toon-Boom Studio for digital cell production. Time is spent on creating backgrounds and camera moves in the program. Some Knowledge of Final-Cut Pro, After Effects or Flash is recommended. Prerequisites FVNM 2420 or 5020	Class Number 2242	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Illustration Location MacLean 717, MacLean 714
Buddhist Ideas in South and Southeast Asian Art	3473 (001)	Nora Annesley Taylor	Wed 12:15 PM - 3:00 PM In Person
Description This class examines Buddhist art in India and Southeast Asia historically and conceptually from its early iconic representations to more recent works by contemporary artists who call themselves Buddhist or use Buddhist ideas in their work. We also question the use of the term 'Art' when used in a religious context. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2091	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Architecture and Art of the Islamic World	3482 (001)	Maggie Schuster	Mon 8:30 AM - 11:15 AM In Person
Description This course is a survey covering the major works of architecture and art from the Islamic world. It discusses the architecture of this civilization in greater depth than many surveys of Islamic art, over a period ranging from the beginnings of Islam in the 7th century up to and including the 20th century. Emphasis will be on the major stylistic differences between the building traditions of the Medieval Spain, the Maghreb region, Egypt and Syria, the Seljuq and Ottoman empires in Turkey, Persian and Central Asian architecture, the Mughal empire and lastly Islamic architecture as it has developed in the Far East, in countries such as China, and Malaysia. In addition, the course will also cover the applied arts in Islam, such as ceramics, carving, Oriental carpets, calligraphy and miniature painting. Required work consists of three quizzes and three short research papers of 5-6pages in length each. Two assignments will involve analyzing Arab architecture and non-Arab monuments. The third will cover an area in the decorative arts/painting. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1043	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Chinese Cinema	3491 (001)	Jennifer Dorothy Lee	Fri 3:30 PM - 6:15 PM In Person
Description This course explores the expression of social imagination in modern China, from the early 20th century to the present day, through the cinematic medium. Taking a selection of representative films and film criticism particular to the mainland, the course will survey constructions of social space throughout distinct historical periods. These include the mise-en-scene of the 1930s silver screen (Wu Yonggang?' The Goddess), Maoist revolutionary representation (Jiang Qing's model opera-ballets), as well as critical portrayals of globalization in the 21st century (Jia Zhangke's The World). Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2093	Credits 3	Department Art History, Theory, and Criticism Location MacLean 1307
Top:Globalizing Japanese Pop Culture	3500 (001)	Aiko Kojima Hibino	Mon 12:15 PM - 3:00 PM In Person
Description In this course, we will take various Japanese pop culture genres including comics, anime, food, fashion, music, etc. and examine the interplay between local and global culturescapes. Students are expected to critically inquire into the reality and complexity of people's lives in Japan as reflected in cultural products and to explore cultural transformation in Japan as a part of the dynamics of globalization. Locally 'common' value and knowledge is challenged as culture traverses borders. From the expansion of Japanese fan communities to the Asia-Pacific region and Brazil, to feminist criticism of gender representation, we will employ case studies to overcome our conscious or unconscious exoticism and to deepen our understanding toward Japanese culture in global context. Key points of inquiry will include: what racial and ethnic relations/tensions underlying global popular culture; economic and political factors driving trends in Japanese popular culture; gender, sexuality, and the politics of representation. Prerequisites Prerequisite: First Year English requirement.	Class Number 1745	Credits 3	Department Liberal Arts Location MacLean 816
Atomic Age	3500 (003)	Aiko Kojima Hibino	Mon 6:45 PM - 9:30 PM In Person
Description When the first artificial self-sustaining nuclear chain reaction was achieved in 1942 in Chicago, human society became destined to grapple with an unsolvable conundrum: How could our society justify the augmentation of this enormous power that could destroy our own existence? This course investigates discourses surrounding two major uses of nuclear power in society¿nuclear weapons and nuclear energy¿and examines them through social justice lenses. We will also study creative expressions inspired by the Atomic Age. Key points of inquiry include: what risks are associated with nuclear weapons and nuclear energy, and how they have been evaluated in contrast to their benefits; how the damages caused by nuclear weapons and nuclear energy have been addressed and mitigated; and whether the harms produced by nuclear weapons and nuclear energy equally impact all groups of people. Prerequisites Prerequisite: First Year English requirement.	Class Number 2383	Credits 3	Department Liberal Arts Location MacLean 301
Modern European Architecture and Theory: 1890-1965	3502 (001)	Timothy Wittman	Tues 8:30 AM - 11:15 AM In Person
Description This course surveys the development of commercial, institutional and residential architecture and interiors in Europe from 1890 to 1965. It examines significant movements and individuals that shaped modern architecture's history through an analysis of the theoretical literature that accompanied the built forms now understood as 'modern.' Seminal texts analyzed include those by Morris, van de Velde, Loos, Gropius, van Doesburg, Le Corbusier, Aalto, Rowe, Stirling and Rossi, among others. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1049	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
The Prairie School And Frank LLoyd Wright	3504 (001)	Timothy Wittman	Mon 12:15 PM - 3:00 PM In Person
Description This course examines the career of America's best known architect alongside the work of his followers. Consideration is given to the origins of the Prairie School, how it achieved broad patronage, and why its popularity declined after World War I. Also examined are the Prairie School's eclecticism, its relationship to modernism, and its principles of organic design. On-site explorations include Wright's Oak Park Home and Studio and the Wright Prairie School Historic District in Oak Park. Other architects considered for their interpretations of the style are W.B. Griffin, B. Byrne, Tallmadge and Watson, W. Drummond, and G.W. Maher. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1061	Credits 3	Department Art History, Theory, and Criticism Area of Study Sustainable Design Location Lakeview - 1608
Anatomy & Physiology	3513 (001)	Dianne Jedlicka	Sat 1:00 PM - 3:45 PM In Person
Description This course serves as a basic introduction to human anatomy. The skeletal, muscular, digestive, circulatory, nervous, and reproductive systems are covered, with special emphasis on the skeletal system in reference to other mammals (a little bit of comparative anatomy!). The physiological processes of the aforementioned systems are examined allowing students to understand the processes. Laboratories include the use of plastic human and mammal models and dissections of preserved ?recycled? sheep organs (kidney, brain, heart, and eye). Labs designed by students while observing concerts at Chicago Symphony Center will focus on the Nervous system (especially special senses) and the Endocrine system (hormones). Other labs will be conducted at our Art Institute of Chicago and the Field Museum of Natural History. Prerequisites Prerequisite: First Year English requirement.	Class Number 1681	Credits 3	Department Liberal Arts Location Lakeview - 1503
NATURAL HISTORY	3520 (001)	Dianne Jedlicka	Mon 8:30 AM - 11:15 AM In Person
Description This course is an introduction to the principles of ecology, emphasizing detailed field investigations of natural communities. Natural History studies allow for many aspects of knowledge to be applied to the understanding of a Biological concept. Among the topics explored are the dynamics of lake ecosystems, forest succession, trophic structure in streams, dune ecology, and territorial behavior in breeding birds and mammals. Lecture/Discussions examine major themes in modern ecology, including energy flow, nutrient cycling, and species diversity. Selections from nineteenth- and twentieth-century American naturalists (Thoreau, Muir, Burroughs, and Leopold) provide perspective on the relationship of humanity to nature. Global warming and pollution dynamics are explored. Lab activities at the Field Museum of Natural History, Lincoln Park Zoo, and the Shedd Aquarium strengthen the understanding of these concepts. Prerequisites Prerequisite: First Year English requirement.	Class Number 1673	Credits 3	Department Liberal Arts Location Lakeview - 1503
HS:The Cuban Revolution	3520 (002)	W Douglas	Tues 6:45 PM - 9:30 PM In Person
Description A variety of specific historical studies are offered on a rotating basis. Recent offerings have included The Limits of Reason, a study of European Enlightenment; Sex, Booze, and Baseball, the nature of leisure activities in American cultural life; Space, Heaven, and God, a study of the relationships of religion, astronomy, and cosmology; and War in American History. Prerequisites Prerequisite: First Year English requirement.	Class Number 1737	Credits 3	Department Liberal Arts Location MacLean 816
HS: The Medieval Islamic World, 600--1400	3520 (006)	Aisha Valiulla	Tues 12:15 PM - 3:00 PM In Person
Description For many people, the premodern Islamic world is a fabled Arabian Nights-type place, with princesses, domes, genies, and adventure. Popular depictions such as Aladdin (1992) emphasize deserts and palaces, sword and horse. But what was it really like? This course analyzes medieval Islamic history from the advent of Islam (7th CE) up to the aftermath of the Mongol conquests (13th CE) to understand the political, cultural, and socio-religious contours of the medieval Islamic world. Through the eyes of scholars, travelers, slaves, and merchants, we will explore pluralism, mobility, and cosmopolitanism within the Dar al Islam, which stretched from Spain in the west to China in the east. Prerequisites Prerequisite: First Year English requirement.	Class Number 1755	Credits 3	Department Liberal Arts Location MacLean 816
HS:Palestinian/Israeli Conflct	3520 (007)	Iymen Chehade	Tues 12:15 PM - 3:00 PM In Person
Description This course offers a critical overview of the origins and politics of the Arab-Israeli conflict through the use of dual narratives. It examines the roots of Zionism and Palestinian nationalism, the deterioration of Jewish-Arab relations during the late Ottoman and Mandate periods, the role of Arab states, the establishment of the state of Israel and subsequent dispersion of Palestinians, the Arab-Israeli wars, the Intifadas, and the possibility of a negotiated peace agreement. Prerequisites Prerequisite: First Year English requirement.	Class Number 1763	Credits 3	Department Liberal Arts Location Lakeview - 203
HS: United States - Latin American Relations	3520 (008)	W Douglas	Wed 6:45 PM - 9:30 PM In Person
Description A variety of specific historical studies are offered on a rotating basis. Recent offerings have included The Limits of Reason, a study of European Enlightenment; Sex, Booze, and Baseball, the nature of leisure activities in American cultural life; Space, Heaven, and God, a study of the relationships of religion, astronomy, and cosmology; and War in American History. Prerequisites Prerequisite: First Year English requirement.	Class Number 1764	Credits 3	Department Liberal Arts Location MacLean 816
HS: Food Chains	3520 (009)	Adam Mack	Wed 12:15 PM - 3:00 PM In Person
Description Food Chains: Farm, Factory, Supermarket, Plate Food Chains explores the history of the networks that bring food from farms and factories to the plates of U.S. consumers. The course covers the history of farm and factory work; the rise of an industrial food system; and changing patterns of distribution, shopping, cooking, and consumption. It takes a multidisciplinary 'food studies' approach to profile work by writers in anthropology, geography, and history. Students will complete weekly reading assignments, a site visit to a food producer in the Chicagoland area, and a poster project on a food of their choice. Prerequisites Prerequisite: First Year English requirement.	Class Number 2125	Credits 3	Department Liberal Arts Location MacLean 816
HS:History of Radio	3520 (010)	Emily C. Hoyler	Wed 8:30 AM - 11:15 AM All Online
Description Since the early twentieth century, radio technology has shaped innovations in communication, news, and entertainment. This powerful medium has driven political influences, established cultural trends, generated communal listenership, and diminished spatial boundaries for the dissemination of information. Radio served as a precursor for later forms of mass media such as television, the Internet, and podcasts. This course will address the history, theory, and aesthetics of radio transmission in Europe and North America. Through lectures, discussion, listening, reading, and writing, students will explore radio?s influence on social habits, political dynamics, and artistic expression. Prerequisites Prerequisite: First Year English requirement.	Class Number 2145	Credits 3	Department Liberal Arts Location Online
Historical Studies	3520 (011)	Adam Mack	Thurs 3:30 PM - 6:15 PM In Person
Description A variety of specific historical studies are offered on a rotating basis. Recent offerings have included The Limits of Reason, a study of European Enlightenment; Sex, Booze, and Baseball, the nature of leisure activities in American cultural life; Space, Heaven, and God, a study of the relationships of religion, astronomy, and cosmology; and War in American History. Prerequisites Prerequisite: First Year English requirement.	Class Number 2382	Credits 3	Department Liberal Arts Location MacLean 112
Animal Behavior	3521 (001)	Dianne Jedlicka	Sat 9:30 AM - 12:15 PM In Person
Description Why do birds migrate? When do whales sing? What does a bee's dance mean? Animals have fascinating behaviors that have both puzzled and amazed observers. This class will explore current theories behind these actions. The lecture/discussion aspects of this course will focus on theories and concepts while the lab component will focus on collecting (Virtual zoo camera) observational data on local fauna and coming up with hypothesis to explain the observed behaviors. Student-collected original data will then be discussed and new or additional theories proposed. This course includes VIRTUAL Zoo camera data observations from any zoo around the world that has zoo cameras! Prerequisites Prerequisite: First Year English requirement.	Class Number 1685	Credits 3	Department Liberal Arts Location Lakeview - 1503
Botany: The Plant Biology	3533 (001)	Patrick R. Leacock	Fri 8:30 AM - 11:15 AM In Person
Description This course is designed to inspire the understanding of the significance of plants to human life. The beauty and diversity of nature is expressed most vividly in the flora of the Earth. Plants are essential for the survival of all living animals, and form a dynamic relationship with them in the environment. As well as a source of wonder, plants provide food, energy, medicine, and innumerable commercial products. The course will explore plant biology, the form and function of plant types, modes of growth and reproduction, and genetics and genetic engineering. Prerequisites Prerequisite: First Year English requirement.	Class Number 1680	Credits 3	Department Liberal Arts Location Lakeview - 1503
Botany: The Plant Biology	3533 (002)	Patrick R. Leacock	Fri 12:15 PM - 3:00 PM In Person
Description This course is designed to inspire the understanding of the significance of plants to human life. The beauty and diversity of nature is expressed most vividly in the flora of the Earth. Plants are essential for the survival of all living animals, and form a dynamic relationship with them in the environment. As well as a source of wonder, plants provide food, energy, medicine, and innumerable commercial products. The course will explore plant biology, the form and function of plant types, modes of growth and reproduction, and genetics and genetic engineering. Prerequisites Prerequisite: First Year English requirement.	Class Number 1674	Credits 3	Department Liberal Arts Location Lakeview - 1503
Sustainability	3539 (001)	Michele Hoffman	Wed 8:30 AM - 11:15 AM In Person
Description In this course students learn about the scientific roots and complexities of diagnosing the most pressing environmental crises of the twenty-first century, their ethical and legal impacts on society, and the potential to achieve sustainability for the future. We raise stimulating ethical and legal debates about topics such as depletion of oceanic resources, loss of biodiversity, habitat destruction, depletion of topsoil, degradation of groundwater and more. This class is about critical thinking and incorporates team projects, debate, class discussion, and independent research to investigate the current state of the global condition and potential for a sustainable future. Prerequisites Prerequisite: First Year English requirement.	Class Number 1675	Credits 3	Department Liberal Arts Area of Study Sustainable Design Location MacLean 920
Top:Drugs We Use and Abuse	3550 (001)	Sarah Burris, PhD	Mon 6:45 PM - 9:30 PM In Person
Description Drugs are substances that can alter processes in our minds and bodies. Humans have explored the use of such substances throughout recorded history. In this course we will establish the foundations of systems biology necessary to understand how drugs act on receptors and alter neurotransmitters in the human body, and how they are metabolized and excreted. We will survey a range of drugs (legal and illegal) and discuss how they work, enabling a critical consideration of how they are used and abused in contemporary society. Students will confront real-world media and current debates about medical and recreational drugs with a focus on the role of the underlying science. Prerequisites Prerequisite: First Year English requirement.	Class Number 1696	Credits 3	Department Liberal Arts Location MacLean 920
Top: Religions of China: Taoism, Confucianism, & B	3550 (004)	Christian M Sheppard	Mon 8:30 AM - 11:15 AM In Person
Description Come along on a spiritual journey with Buddhist monk Xuanzang and his animal disciples, including the magical Monkey King, in their quest to India in search of sacred scriptures. The classic Chinese novel, The Journey to the West combines romance, fantasy, satire, and humor to present a religious allegory of Buddhism, Confucianism, and Taoism. We will read and discuss selected chapters in order to appreciate its philosophical and literary originality in historical and religious context. Prerequisites Prerequisite: First Year English requirement.	Class Number 2175	Credits 3	Department Liberal Arts Location Lakeview - 205
Sociology of Latinas	3555 (001)	Christina Gomez	Wed 12:15 PM - 3:00 PM In Person
Description This course examines the diversity of Latina experiences in the United States and the construction of Latina identities, social movements, artistic expressions, and political participation. The course centers around testimonios -- or life stories -- specifically focusing on understanding the struggles of Latinas in everyday life. Topics include Latina feminism, colorism/race, sexualities, educational attainment, violence against women, and labor participation. Readings and screenings will vary but generally include 'testimonios,' essays, studies, and documentaries focusing on the experiences of Latinas in the United States. Including demographics of the Latinx Population,Fact Sheet on Latinas ¿ Health, Education, and readings from Economics, Political Science, Sociology, Anthropology, and Literature that focus on Latinas experiences, studies, and policies. Books include:The Latina Feminist Group, Telling to Live: Latina Feminist Testimonios and This Bridge Called My Back: Writings by Radical Women of Color, Editors: Cherrie Moraga and Gloria Anzaldua. We examine issues, such as forced sterilization of Latina women in the U.S., skin color discrimination, sexual abuse, and the ongoing pay disparity that Latinas face that has barely budged within the last 30 years. Students should expect to produce a body of work consisting of three essays during the semester, and a final presentation of a project that is shared with the class. Prerequisites Prerequisite: First Year English requirement.	Class Number 1741	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality, Class, Race, Ethnicity, Economic Inequality & Class Location MacLean 112
Ecology, evolution, and our role in a changing world	3557 (001)	Matthew Nelsen	Thurs 8:30 AM - 11:15 AM In Person
Description Earth is home to diverse life. These organisms interact with and influence both one another and the environment. We will begin the semester by exploring the nature of these interactions, their structure and importance, and the diversity of life on Earth, while also gaining insight into the scientific method and the data and approaches utilized to generate an understanding of the world around us. We will then shift to discussing the origins of diversity and how both the Earth and life on it have changed through time. Armed with a richer perspective of this diversity and its origins, we will then move towards the present to discuss current threats endangering this diversity (such as climate change), and actions we can take to mitigate this loss. Together, students will ultimately acquire a deeper understanding of and appreciation for the world around us, while also considering our place in and impact on it. It is hoped that this greater cognizance will serve as inspiration for students and their artistic work, while also leading them to more deeply consider the fascinating evolutionary history underlying many of the materials used in their work. Prerequisites Prerequisite: First Year English requirement.	Class Number 1686	Credits 3	Department Liberal Arts Area of Study Sustainable Design Location Lakeview - 1503
Visualizing Biological Phenomena	3561 (001)	Anna Edlund	Mon 12:15 PM - 3:00 PM In Person
Description The explanation of complex biological concepts, testing of predictions, and the presentation data all often rely on visual representations of phenomena. In this course students examine how scientists use graphs, models, and imaging technologies to both assist scientific research as well as communicate their ideas clearly as part of 'scientific method.' Students enter the process by picking a biological concept or question, analyzing its methods and representation, and developing their own independent project. Prerequisites Prerequisite: First Year English requirement.	Class Number 2126	Credits 3	Department Liberal Arts Location MacLean 112
Creating Life: Nature, Nurture and Embryology	3566 (001)	Anna Edlund	Tues 3:30 PM - 6:15 PM In Person
Description A newly fertilized egg has none of its later adult features; these emerge through interplay between external and internal forces. We will explore how embryos take shape, generate patterns, and also evolve novelty. Our discussions of creation in the context of evolution and embryology, will be enriched by laboratory exercises and several projects on fate, chance, and necessity during deep time and in a single lifetime.	Class Number 1702	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality, Art and Science Location Lakeview - 1503
International Politics	3567 (001)	Patrick Lynn Rivers	Wed 6:45 PM - 9:30 PM In Person
Description This is an introductory course providing a foundation for the study of major issues in international politics. This politics is shaped at the nexus of global security challenges and economic precarity in the Global North and South. The most recent iteration of this nexus has led to an inward turn as marked by the election of Donald Trump, Brexit, and burgeoning nationalist and populist movements from Brazil to France and Italy to the Philippines. Now, international politics finds itself with a second Trump presidency that views international norms as optional. Europe wonders what to do as lonely defenders of a waning post-WWII order that made them richer. China, as leader of ¿emerging powers,¿ has sought to challenge American power understood by many to be neocolonial and imperial. Course topics and texts (all on Canvas) reflect the course¿s major themes: international relations theory and feminist international relations; national security policy and practice; international political economy and globalization; the rules-based order; conflicts in the Middle East, Sudan, and Ukraine; Global South visions of a new world order; global climate change politics. Forms of evaluation include the following: quizzes, a midterm and final exam, and a short final paper as capstone assignment. Prerequisites Prerequisite: First Year English requirement.	Class Number 1761	Credits 3	Department Liberal Arts Location MacLean 620
Surface Tensions: Taxidermy and Contemporary Art	3652 (001)	Giovanni Aloi	Tues 8:30 AM - 11:15 AM In Person
Description Taxidermy became the most important tool of knowledge of natural history museums during the Victorian period when it fascinated audiences with its hyperrealist aura. Yet, it was never considered a form of fine art. Today taxidermy has entered the gallery space, but not on the merit of its accurate realism. The opposite is true: unrealistic taxidermy is the symptom of a difficult relationship with nature and alterity that marks today's ecological and capitalist global crises. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1064	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Rock and Roll vs. Modern Life	3663 (001)	Seth Kim-Cohen	Mon 12:15 PM - 3:00 PM In Person
Description In the mid-1960s, artists and musicians ran away from home, thumbing their collective nose at the structure and security provided by their modernist parents. On the road and in the streets, in dive bars and coffeehouses, on records and off the record, artists and musicians re-wrote not just the rules of art, but the rules that structured values, ideas, and lives. Rock and roll wasn?t just the soundtrack for these changes, but an active participant. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1052	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Introduction To Psychology	3700 (001)	Michael Nagelbach	Sat 9:30 AM - 12:15 PM In Person
Description The human mind is one of the most fascinating and complex subjects of modern science. How can we possibly hope to understand it? This course will use the tools of psychological history and science to suggest answers. Recent and contemporary readings in psychological research and theory building, such as the nature of psychology & psychological research, learning theory, cognitive psychology, neuropsychology, psychodynamic psychology, & group and social psychology. Students will be evaluated for receiving credit in the class based on class participation, their written work (three papers) and their performance on three in-class exams.' Prerequisites Prerequisite: First Year English requirement.	Class Number 2110	Credits 3	Department Liberal Arts Location MacLean 608
Disease Dynamics	3700 (001)	Joshua A McKeever	Tues 6:45 PM - 9:30 PM In Person
Description From viruses to vaccines, zombie-making fungi to tick bites that make you allergic to meat, fascinating, terrifying, mundane, and sometimes just outright bizarre diseases surround us every day. In Disease Dynamics, we will explore the basic science behind what causes different types of diseases, how our bodies naturally defend against them, and how medical innovations like antibiotics, vaccines, and insulin work to combat these diseases and disorders. Students will walk away from this class with an understanding of how their bodies together with science attempt to fight the ever-shifting, ever-present threats of disease they face each day. The course will survey topics including the immune system, autoimmune disorders, infectious diseases, vaccines and antibiotics, cancer, genetic disorders, and gene therapy. Coursework will include readings, quizzes, discussions, and an art-infused final project. Prerequisites Prerequisite: First Year English requirement.	Class Number 1687	Credits 3	Department Liberal Arts Location MacLean 920
History of Philosophy: Medieval to Renaissance Philosophy	3702 (001)	Robert Kiely	Wed 12:15 PM - 3:00 PM In Person
Description The story of European philosophy in the Middle Ages is one of loss and recovery. A great deal of classical thought was lost when the Roman Empire crumbled, and those ideas were reintroduced and reconciled to European culture in a series of intellectual events spanning a thousand years. In this course, we trace the course of this process, from the monastic culture of the Early Middle Ages, to the Aristotelian world of the High Medieval universities, to the classical resurgence of the Italian renaissance. We explore a wide variety of written material. Augustine of Hippo and Boethius illustrate the period immediately after the fall of Rome, while Ibn Sina and Ibn Rushd demonstrate the crucial role played by Arab philosophy after the 9th century. Hildegard of Bingen and Peter Abelard embody the energy of European thought in the 12th century, and the scholastic synthesis of Thomas Aquinas represents the culmination of that intellectual energy. Finally, the work of Christine de Pisan and Pico della Mirandola manifest the Humanist character of the Otalian Renaissance. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams. Prerequisites Prerequisite: First Year English requirement.	Class Number 1466	Credits 3	Department Liberal Arts Location MacLean 707
The invisible Cinema: Asian American Cultural Diaspora	3703 (001)	Tatsu Aoki	Tues 12:15 PM - 3:00 PM In Person
Description A marginal cinema and history; a course designed for an undergraduate level art history. This course looks at Asian American Cinema experience and historical development as Asian American ethnic cultural diaspora and visionally representations. From political to imaginary, this course will look at works of Asian American representation through cinema and examine the Asian American & pacific Islander American experience as told though cinematic expression such as documentary, short films, feature length narratives, experimental films and mainstream Hollywood releases. Along with weekly viewings of films and excerpts, the course will also discuss Asian American collective identity and social issues, historical background, economy of film production, racism, negative stereotyping, Hollywood whitewashing, cultural appropriation, and media activism. Historically significant artists, filmmakers and producers will be presented for weekly discussion. Some of the artists introduced in the class are: the matinee idol Sessue Hayakawa (1889?1973), to Anna May Wong (1905?1961), Winifred Eaton Reeve, Renee Tajima, Steven Okazak, Wayne Wang, Kelly Saeteurn, Quentin Lee, Justin Lin and others. Weekly viewings of films and journals, One Midterm assignment and one final Paper. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1457	Credits 3	Department Film, Video, New Media, and Animation Area of Study Class, Race, Ethnicity, Community & Social Engagement, Playwriting/Screenwriting Location MacLean 1307
History of Philosophy: Hegel to the 20th Century	3704 (001)	Guy Elgat	Fri 8:30 AM - 11:15 AM In Person
Description What is it to be an autonomous agent? To what extent is our agency free? In this course, we examine the manner in which the notion of individual, autonomous freedom is criticized and undermined in various ways in 19th and 20th century philosophy. After introducing the German philosopher Immanuel Kant¿s thought, with its strong conception of individual autonomy, we look at Hegel¿s critique of Kant and discuss his philosophy of history as a rational force that shapes and enables freedom. We then look at Marx and the materialist twist he gives to Hegel¿s idea: it is not reason but economic conditions that determine a person¿s degree of freedom. We then discuss Nietzsche¿s ideas to the effect that it is certain socio-psychological forces that shape what we value. We end by looking at structuralist (Michel Foucault) and feminist (Marilyn Friedman) approaches to the question of autonomy. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams. Prerequisites Prerequisite: First Year English requirement.	Class Number 1475	Credits 3	Department Liberal Arts Location MacLean 620
Installation	3705 (001)	Tirtza Even	Wed 9:00 AM - 3:00 PM In Person
Description The goal of the course is to understand, analyze and confront in practice various aspects of installation art in general and video installation in particular. The course will focus on themes such as site specific work; positive and negative spaces (use of light and projection); formation of an event or a situation (use of material, gesture and movement); the integration of video within sculptural/architectural, as well as narrative configurations etc. The examples shown in accordance with each topic will demonstrate various solutions to the issues discussed in class, and will include gallery and museum field trips as well as possible guest artist lectures. Visual examples will range from Cornell's boxes, minimalist and post minimalist art work, site specific projects by artists including Walter de Maria and Smithson, through pioneer installation makers such as Nauman, Bill Viola, Gary Hill and up to contemporary video installation makers such as Eijal liisa Ahtila, Stan Douglas, Isaac Julian, Doug Aitkins and many others. Readings will include articles by Peter Selz, Michael Archer, Fried Michael, Barbara London, Chrissie Iles, John Hanhardt and numerous others. Students will be required to plan and draw installation sketches as well as to videotape and construct actual video installation work. Class Requirements include weekly reading of relevant articles, two in-class team presentations of relevant artists, as well as 3 short installation production assignments and a more elaborate final project. Prerequisites Prerequisite: FVNM 3003 or 5020	Class Number 1453	Credits 3	Department Film, Video, New Media, and Animation Area of Study Community & Social Engagement, Public Space, Site, Landscape Location MacLean 1408
Psychology Of Art And The Artist	3715 (001)	James Driscoll	Wed 12:15 PM - 3:00 PM In Person
Description An exploration of historical and contemporary psychological approaches to understanding art, artists, and the art world. Prerequisites Prerequisite: First Year English requirement.	Class Number 1751	Credits 3	Department Liberal Arts Location MacLean 620
Psychodynamic Psychology	3738 (001)	Gioia Pirrello	Wed 8:30 AM - 11:15 AM In Person
Description It is the purpose of this course to examine the many theories that fall into the psychodynamic paradigm. This will include examining the work of Freud and those who have branched off from his basic ideas? such as Adler, Jung, Reich, Klein, Fairbairn, Kohut, Guntrip, Winnicott, Erikson, Mahler, Stern, Sullivan, Jacobson, Bion and Lacan, to name but a few. Students can expect a required final paper, and additional quizzes and shorter writing assignments. Prerequisites Prerequisite: First Year English requirement.	Class Number 1758	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location Lakeview - 203
Madness	3740 (001)	Michael Nagelbach	Thurs 6:45 PM - 9:30 PM All Online
Description ?Much madness is divinest sense,? Emily Dickinson wrote, further observing that ?much sense [is] starkest madness.? The poet insisted that the majority sets and enforces the standard by which sanity is evaluated. This course will introduce a variety of topics in the psychology of madness through lectures, discussions, and readings. In the twenty-first century, the study of the mind ?in psychiatry, psychoanalysis, clinical psychology, and especially psychopharmacology and neuroscience?claim tremendous scientific authority and exert enormous influence. This course explores varied clinical descriptions and models of madness. It also explores madness as a key cultural symbol, representing profound threats to order and rationality. There will be a mid-term paper and a final paper assignment and students will write brief essays on some of the readings and will be encouraged to do class presentations at some of our meetings. Prerequisites Prerequisite: First Year English requirement.	Class Number 2111	Credits 3	Department Liberal Arts Location Online
Design Discourses	3740 (001)	Michael Golec	Thurs 8:30 AM - 11:15 AM In Person
Description This class examines diverse perspectives on the production, consumption, and use of design. Reading key primary writings by designers and observers, we will consider topics such as the role of technology in design change, the uses and functions of design in relations to commerce and social reform. Readings will include written texts by modern and post-modern designers; as well as well as critics, historians, and theorists responding to design and the designed environment. Course work typically includes responses to readings in relation to object analysis, a modest research paper, and mid-term and final exams. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2090	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Abnormal Psychology	3742 (001)	Michael Nagelbach	Sat 1:00 PM - 3:45 PM In Person
Description The course will include information related to basic conceptualizations of so-called ?abnormal behavior,? historical perspectives on psychopathology, research methods and progress, and contemporary and emerging issues in mental health. Readings will include books and articles that reference, among other sources, information from the Diagnostic and Statistical Manual 5 (DSM 5). Students will be evaluated for receiving credit in the class based on class participation, their written work (three papers) and their performance on three in-class exams. Prerequisites Prerequisite: First Year English requirement.	Class Number 2112	Credits 3	Department Liberal Arts Location MacLean 608
Top:Intro Linguistic Anthrop	3800 (001)	Matilda Stubbs	Wed 8:30 AM - 11:15 AM In Person
Description Next to breathing and eating, communication is arguably the most important activity of daily life. This course explores the world of communication and the study of culture through language. The material centers around the major theoretical and epistemological developments throughout the history of linguistic inquiry (Wittgenstein, Sapir, Pierce), specifically focusing on the contributions of linguistic anthropology (Boas and Hymes) and ethnographies of language (Basso, Carr, Fox, Mendoza-Denton). We will also explore semiotics (Agha)? the study of signs and the micro-level methods of basic social interaction and conduct independent language fieldwork projects to learn the basics of transcription and discourse analysis. Prerequisites Prerequisite: First Year English requirement.	Class Number 1736	Credits 3	Department Liberal Arts Location MacLean 620
Top: Anthro of China Today	3800 (002)	Saul T Thomas	Mon 12:15 PM - 3:00 PM In Person
Description This course aims to approach China today through its various 'cultures' and 'subcultures'--the worlds of meaning constructed along with the establishment (and imposition) of identities of the 'self' and understandings and representations of all manner of internal and external 'others.' Our primary avenues of inquiry will be the broad categories of ethnicity, class, gender, and religion in the broadest senses. We will also discuss the methods and means of acquiring anthropological knowledge of China, and attempt to devise and conduct our own independent inquiries. Prerequisites Prerequisite: First Year English requirement.	Class Number 1750	Credits 3	Department Liberal Arts Location Lakeview - 202
Top: Art, Property and Museum	3800 (003)	Jake Nussbaum	Mon 12:15 PM - 3:00 PM In Person
Description Historically, the discipline of Art History has been the study of white men, whereas Anthropology has been the study of the creative practices of ¿others,¿ i.e., those subject to European imperialism and colonization. This has created a hidden dynamic in the ways we think about human creativity: ¿art¿ is understood to be the product of individual genius (i.e., whiteness and masculinity), whereas ¿culture¿ is the anonymous and traditional production of ¿a people.¿ And yet, all creative practice emerges within specific social and historical contexts and at the nexus of tradition and innovation, the individual and the collective. In this class we will salvage the tools of anthropological analysis from their colonial origins to radically transform our understanding of art and its place in the world. Drawing on theoretical and anthropological readings in three thematic areas¿Art, Property, and Museums¿we will critically examine the ways human creativity is valued and appreciated while also learning to refuse the racialized and gendered hierarchies that structure the category of ¿art.¿ At the same time, we will engage with artworks, films, and exhibitions that appropriate the ¿anthropological gaze¿ to further unsettle these hierarchies. Coursework will consist of weekly readings, critical responses to local exhibitions and performances, and independent research projects. In-class activities will draw us further into the contradictions and questions raised. Prerequisites Prerequisite: First Year English requirement.	Class Number 1756	Credits 3	Department Liberal Arts Location MacLean 301
AIA: Practice Studio	3902 (001)	Stephanie Slaughter, Georgina Bowman	Mon/Thurs 9:00 AM - 3:00 PM In Person
Description This 6-credit (two day) design studio focuses on the role architecture plays in shaping public life. Students address the cultural, political, and material concerns that shape buildings through the development of a design proposal with a clear theoretical grounding and distinct topical focus. Teaching focuses on understanding architectural program and circulation; materiality and structure; and site and context. Students respond to topical briefs put forward by their teacher that incorporate knowledge from areas of architectural practice such as preservation, interior design, or urbanism; use advanced representation techniques to achieve a professional level presentation, and complete a portfolio and resume along with their design work. Class work includes architectural research; precedent study; and site analysis; all informing the completion of a design proposal with a complex program. This course requires 12 credits (two semesters) of Architecture Foundation Studio to register. 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. Prerequisites Must have completed a sophomore seminar class and 12 credits of Architecture Foundation Studio	Class Number 1564	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Area of Study Architecture, Interior Architecture, Public Space, Site, Landscape, Sustainable Design Location Sullivan Center 1406A
AIA: Practice Studio	3902 (001)	Stephanie Slaughter, Georgina Bowman	Mon/Thurs 9:00 AM - 3:00 PM In Person
Description This 6-credit (two day) design studio focuses on the role architecture plays in shaping public life. Students address the cultural, political, and material concerns that shape buildings through the development of a design proposal with a clear theoretical grounding and distinct topical focus. Teaching focuses on understanding architectural program and circulation; materiality and structure; and site and context. Students respond to topical briefs put forward by their teacher that incorporate knowledge from areas of architectural practice such as preservation, interior design, or urbanism; use advanced representation techniques to achieve a professional level presentation, and complete a portfolio and resume along with their design work. Class work includes architectural research; precedent study; and site analysis; all informing the completion of a design proposal with a complex program. This course requires 12 credits (two semesters) of Architecture Foundation Studio to register. 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. Prerequisites Must have completed a sophomore seminar class and 12 credits of Architecture Foundation Studio	Class Number 1564	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Area of Study Architecture, Interior Architecture, Public Space, Site, Landscape, Sustainable Design Location Sullivan Center 1406A
ARTED: Practices of Art and Design Education in Schools and Communities: Teens and Adults	3904 (002)	Paul J. Mack	Mon 9:00 AM - 3:00 PM In Person
Description Relating contemporary and traditional artmaking approaches and culturally responsive pedagogy with curriculum, project, and instructional design methods, this course provides prospective teachers and teaching artists with knowledge and skills needed to structure learning experiences through which children and youth in elementary schools, middle schools and community settings enhance their creativity, develop technical skills, understand a range of artmaking practices, make personally meaningful works, and explore big ideas. Course participants will structure teaching plans that identify students¿ prior knowledge, scaffold learning, use multiple teaching and learning strategies to promote student engagement and differentiate instruction to meet the needs of all students. They will learn to articulate clear and verifiable core learning objectives, select relevant national and state standards and design assessments that capture essential student learning without standardizing students¿ artworks. Teacher reflection based on critique, student input and assessment data will be used in an iterative process of editing and redesigning curriculum. Connecting visual and verbal literacies, prospective teachers will make use of reading, writing and speaking activities that engage students in interpreting art and analyzing visual culture as well as using picture books as a source of inspiration for their personal storytelling and artmaking. Teachers will learn to select and/or develop reading level-appropriate art and culture readings to support learning. Studying a range of art education practices will provide teacher candidates with theoretical perspectives from which to build their own unique pedagogical approaches. Readings include works by Maria Montessori, Viktor Lowenfeld, Anne Thulson, Lisa Delpit, Vivian Paley, and Sonia Nieto as well as overviews of Reggio Emelia, Teaching for Social Justice, Teaching for Artistic Behavior, Studio Habits, Visual Thinking Strategies and Principles of Possibility Course assignments will include readings and discussion responses and researching artists, artmaking approaches and pedagogical practices as well as writing project and lesson plans accompanied by teacher artwork examples, image presentations, readings, assessments, and other instructional materials, as well as documenting plans and student artworks. Participants will teach small groups of students in elementary schools with English Language Learners. All student must complete and pass Chicago Public Schools Background Check. Prerequisites Must complete ARTED 3015, ARTED 3021 and any sophomore seminar course	Class Number 2074	Credits 3	Department Art Education Location Sharp 404
ARTED: Practices of Art and Design Education in Schools and Communities: Teens and Adults	3904 (003)	Catalina Hernández-Cabal	Mon 9:00 AM - 3:00 PM In Person
Description Relating contemporary and traditional artmaking approaches and culturally responsive pedagogy with curriculum, project, and instructional design methods, this course provides prospective teachers and teaching artists with knowledge and skills needed to structure learning experiences through which children and youth in elementary schools, middle schools and community settings enhance their creativity, develop technical skills, understand a range of artmaking practices, make personally meaningful works, and explore big ideas. Course participants will structure teaching plans that identify students¿ prior knowledge, scaffold learning, use multiple teaching and learning strategies to promote student engagement and differentiate instruction to meet the needs of all students. They will learn to articulate clear and verifiable core learning objectives, select relevant national and state standards and design assessments that capture essential student learning without standardizing students¿ artworks. Teacher reflection based on critique, student input and assessment data will be used in an iterative process of editing and redesigning curriculum. Connecting visual and verbal literacies, prospective teachers will make use of reading, writing and speaking activities that engage students in interpreting art and analyzing visual culture as well as using picture books as a source of inspiration for their personal storytelling and artmaking. Teachers will learn to select and/or develop reading level-appropriate art and culture readings to support learning. Studying a range of art education practices will provide teacher candidates with theoretical perspectives from which to build their own unique pedagogical approaches. Readings include works by Maria Montessori, Viktor Lowenfeld, Anne Thulson, Lisa Delpit, Vivian Paley, and Sonia Nieto as well as overviews of Reggio Emelia, Teaching for Social Justice, Teaching for Artistic Behavior, Studio Habits, Visual Thinking Strategies and Principles of Possibility Course assignments will include readings and discussion responses and researching artists, artmaking approaches and pedagogical practices as well as writing project and lesson plans accompanied by teacher artwork examples, image presentations, readings, assessments, and other instructional materials, as well as documenting plans and student artworks. Participants will teach small groups of students in elementary schools with English Language Learners. All student must complete and pass Chicago Public Schools Background Check. Prerequisites Must complete ARTED 3015, ARTED 3021 and any sophomore seminar course	Class Number 2075	Credits 3	Department Art Education Location Sharp 409
ARTSAD: The Artist Formerly Known as Starving: Freelancing Comics and Illustration	3906 (001)	Anya Pauline Davidson	Wed 8:30 AM - 11:15 AM In Person
Description This seminar introduces and develops professional practices for students pursuing a freelance career in comics, illustration, animation, or the like. By creating promotional material, portfolios, contracts, and invoices, students learn how to market themselves as freelance artists. In tandem with learning the ins and outs of industry standards, they have access to insight and advice from a variety of guest speakers whose careers and professional paths have paved the way for future creators. Readings will vary but typically include 'The Freelancer's Bible: Everything You Need to Know to Have the Career of Your Dreams- On Your Terms' by Sara Horowitz, 'The Graphic Artist Guild Pricing and Ethical Guidelines Handbook,' and 'Burn Your Portfolio' by Michael Janda. Students will create, revise, workshop, and submit a variety of professional documents that culminate in a compendium over the course of the semester. These are all documents that will prove to be necessary for a freelancing career. There will be weekly responses to readings, and rotating guest speakers to provide in-sight on their professional journeys. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1573	Credits 3	Department Arts Administration and Policy Area of Study Books and Publishing, Comics and Graphic Novels Location Lakeview - 206
ARTSAD: Project Pragmatics: Getting Your Work Out Into the World	3907 (001)	kg Gnatowski	Fri 8:30 AM - 11:15 AM In Person
Description This course will prepare students for developing project proposals in various contexts ranging from informal collaborations with artist run spaces to formal grant applications. We will focus not only the process of conceptualizing a project idea and persuasively organizing the necessary content around it, but also explore the pragmatic aspects of carrying it out and interfacing collaboratively with an art space, an institution, or other artists. In addition to workshopping the various elements needed for a hypothetical project, students will be required to conceptualize, propose and execute a proposal of some scale at the end of the semester to put into practice the skills and ideas explored in the course. In doing so, we will use the project proposal as a means to understand the broader ecosystem of the artworld and the different roles people play within them: artist, curator, programmer, institution, non-profit infrastructure, commercial and corporate factors, and more. Chicago?s landscape of artists, institutions and DIY spaces will provide ample case studies and first hand know-how for us to tap into as we build an understanding of the interrelationships between an artistic practice and the space within which it is presented or contextualized. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1574	Credits 3	Department Arts Administration and Policy Location MacLean 111
ARTSAD: Self Care In The Age Of Hyper Productivity	3908 (001)	kg Gnatowski	Wed 8:30 AM - 11:15 AM In Person
Description We all have something that we do to offset stress and practice care for the self, be it jogging, knitting, reading, or meeting with friends. Care is a radical action. This course will look at care for the individual and care for the community as a strategy for art-making in the studio. Students will discuss self-care strategies that work for them and bring those strategies into the studio. The culminating project will be presenting a plan of action for continued self-care at SAIC and beyond with concrete examples of these strategies at play in the student's studio work. Students will work on a series of small sample projects throughout the semester in preparation for a final presentation of a finished piece. We will look to alternative models of evaluation and build our own unique dynamic approach to critiquing these pieces. Students will practice self-care by participating in the class reading group to discuss texts including All About Love by Bell Hooks, Emergent Strategy by Adrienne Marie Brown, Conversation with Mike Kelley, Keith Harring's Journals, Eva Hesse's notes and more. Texts will be selected to best reflect the student's interests and studio practices. We will look at artists and practitioners who bring care into their work across disciplines including Shana Moulton (film and performance), Aram Han Sifuentes (craft and participation), H. Melt (poetry and writing), Adrian Piper (research) and more. Students will be asked to contribute significantly to an extended bibliography of care for the class to share beyond the Spring semester. This course includes weekly text discussions, small group critiques on sample pieces and culminates in a full class critique of a self directed final project. Ideas for this project will be supported through individual meetings with the instructor and visiting guest self care experts. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1572	Credits 3	Department Arts Administration and Policy Area of Study Art/Design and Politics, Community & Social Engagement Location Lakeview - 1427
ARTSAD: Statements, Grants, Proposals	3909 (001)	Rosalynn Gingerich	Tues 8:30 AM - 11:15 AM In Person
Description This interdisciplinary seminar introduces, deepens and extends writing skills and helps to develop concepts that can sustain, guide and propel artistic practice after graduation. Central to the class is the professional completion of two grant applications, followed by a mock jury event that simulates actual jurying procedure. In conjunction with the applications, students write artist statements and develop project proposals. We also discuss how the arts and the public intersect, whether in popular opinion, historic context or professional settings. This includes an assessment of the relations of artists and audiences, artists and administrators and curators, and artists and critics. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1571	Credits 3	Department Arts Administration and Policy Area of Study Public Space, Site, Landscape Location MacLean 608
CAPX: Internship as Professional Experience	3912 (001)	Anna Laure Kielman	TBD - TBD In Person
Description This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and a meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1565	Credits 3	Department Career and Professional Experience Location
CAPX: Internship as Professional Experience	3912 (002)		TBD - TBD In Person
Description This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and a meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1592	Credits 3	Department Career and Professional Experience Location
CAPX: Internship as Professional Experience	3912 (003)	Danny Floyd	TBD - TBD In Person
Description This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and a meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty. Prerequisites Prerequisite: Sophomore seminar course	Class Number 2364	Credits 3	Department Career and Professional Experience Location
CAPX: Internship as Professional Experience	3912 (004)	Joshua Rios	TBD - TBD In Person
Description This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and a meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty. Prerequisites Prerequisite: Sophomore seminar course	Class Number 2365	Credits 3	Department Career and Professional Experience Location
DES OB: Designed Object Portfolio Development Studio	3914 (001)	Sara Prado	Wed 6:45 PM - 9:30 PM In Person
Description In this class you will engage in a wide variety of professional practice activities to help prepare you for life after SAIC. In this course, each student will focus on advancing the design (layout, graphics, narratives, flow) of their portfolio so that it best conveys their individual design skills, experience and interests. Students will produce materials appropriate for delivery of their work across multiple formats (print, digital, web, etc), will learn how to edit/ arrange their materials to suit the specific context of application, and will create consistent design elements that can be shared across the full range of professional materials from portfolio, website, business cards, and other promotional materials. The course emphasizes hands-on, real- world professional activities and opportunities for emerging designers. More information about Professional Practice and the Academic Spine curriculum can be found on the SAIC website: http://www.saic.edu/academics/departments/academicspine/ Prerequisites Prerequisite: Sophomore seminar course	Class Number 1585	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1226
FASH: Intermediate Fashion Studio	3916 (001)	Jacques A Agbobly	Tues, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Intermediate Fashion studio is a co-taught immersive class that furthers the creative and technical development of the `thinking and making' involved in designing tomorrow's fashion. Students build a three look capsule collection based on their personal research, brought alive in shape and material development through garments. In-depth research and personal conviction infuse the conceptual stage, while translating this sensibility into garment concepts requires heightened attention to detail and execution. Students review and develop approaches to express and communicate design concepts, as well as their realization into fashion garments and collections. Throughout, garments and looks are fitted on models in both muslin and fabric. Prerequisites Student must complete sophomore seminar, FASH 3001, and FASH 3002 prior to enrollment.	Class Number 1566	Credits 6	Department Fashion Design Location Sullivan Center 702, Sullivan Center 703
FASH: Intermediate Fashion Studio	3916 (001)	Jacques A Agbobly	Tues, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Intermediate Fashion studio is a co-taught immersive class that furthers the creative and technical development of the `thinking and making' involved in designing tomorrow's fashion. Students build a three look capsule collection based on their personal research, brought alive in shape and material development through garments. In-depth research and personal conviction infuse the conceptual stage, while translating this sensibility into garment concepts requires heightened attention to detail and execution. Students review and develop approaches to express and communicate design concepts, as well as their realization into fashion garments and collections. Throughout, garments and looks are fitted on models in both muslin and fabric. Prerequisites Student must complete sophomore seminar, FASH 3001, and FASH 3002 prior to enrollment.	Class Number 1566	Credits 6	Department Fashion Design Location Sullivan Center 702, Sullivan Center 703
FASH: Intermediate Fashion Studio	3916 (002)	Jacques A Agbobly	Tues, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Intermediate Fashion studio is a co-taught immersive class that furthers the creative and technical development of the `thinking and making' involved in designing tomorrow's fashion. Students build a three look capsule collection based on their personal research, brought alive in shape and material development through garments. In-depth research and personal conviction infuse the conceptual stage, while translating this sensibility into garment concepts requires heightened attention to detail and execution. Students review and develop approaches to express and communicate design concepts, as well as their realization into fashion garments and collections. Throughout, garments and looks are fitted on models in both muslin and fabric. Prerequisites Student must complete sophomore seminar, FASH 3001, and FASH 3002 prior to enrollment.	Class Number 1567	Credits 6	Department Fashion Design Location Sullivan Center 703, Sullivan Center 702
FASH: Intermediate Fashion Studio	3916 (002)	Jacques A Agbobly	Tues, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Intermediate Fashion studio is a co-taught immersive class that furthers the creative and technical development of the `thinking and making' involved in designing tomorrow's fashion. Students build a three look capsule collection based on their personal research, brought alive in shape and material development through garments. In-depth research and personal conviction infuse the conceptual stage, while translating this sensibility into garment concepts requires heightened attention to detail and execution. Students review and develop approaches to express and communicate design concepts, as well as their realization into fashion garments and collections. Throughout, garments and looks are fitted on models in both muslin and fabric. Prerequisites Student must complete sophomore seminar, FASH 3001, and FASH 3002 prior to enrollment.	Class Number 1567	Credits 6	Department Fashion Design Location Sullivan Center 703, Sullivan Center 702
FIBER: How to be an Artist at Night	3917 (001)	Jess Atieno Ounga	Tues 12:15 PM - 3:00 PM In Person
Description This professional practice course that focuses on preparing for all things life after school. As scaffolding throughout the course we will explore the text, How to be an artist at night by Raqs media collective to explore a range of questions and themes in art practice at the intersection of contemporary life. What constitutes an education for the real world? How do we grow a community that supports and is in conversation with our work? What are the professional skills we need to sustain our practice outside the studio? How do we write about, talk about and present our work? What are the practices of self care we can cultivate to fuel our creativity? Other readings will include teaching to transgress- Bell Hooks, The Artist's Guide: How to make a living doing what you love- Jackie Battenfield, The Social Production of Art- Janet Wolff. We will also watch and respond to short films. Course work will vary but will typically include writing an artist statement, bio and exhibition proposal. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1586	Credits 3	Department Fiber and Material Studies Area of Study Exhibition and Curatorial Studies, Public Space, Site, Landscape, Social Media and the Web Location MacLean 301
FIBER: Sustainable Practice/Sustainable Life	3918 (001)	Stacia Laura Yeapanis	Fri 12:15 PM - 3:00 PM In Person
Description This professional practice seminar emphasizes sustainability (emotional, economic, and environmental) as key for living artists. Each student will develop a sustainable work flow for organizing opportunities, documenting expenses, and applying for exhibitions, grants and residencies. Emphasis will be placed on sustainable material sourcing, both for environmental concerns and our own economic needs. Discussions and readings will revolve around how to keep making art, even when life gets in the way. Students will learn practical skills that serve their work (tweaking artist statements for various opportunities, developing and maintaining a website, ongoing research ) along with stress-management techniques (organized work flow, time-management, knowing when to take a break and how to rest more effectively, peer-to-peer support, dealing with rejection). This course will address the myriad ways studio artists get paid outside the commercial gallery system via recorded interviews with living artists. Readings include 'Art and Fear' (David Bayles and Ted Orlando) and 'Artists Gotta Eat and Other Things We Forget to Remember' by Tempesst Hazel. Past Visiting Artists have included Selina Trepp, who uses and reuses the material in her studio, and Sadie Woods, who is an artist, curator and DJ. Similar Visiting Artists will be chosen in future semesters. Each student will create a personal opportunities database, create a submission for the opportunity of their choice, write an artist statement, bio and CV, build a portfolio website, give an artist talk and develop a sustainable plan for sourcing materials and managing stress. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1580	Credits 3	Department Fiber and Material Studies Area of Study Exhibition and Curatorial Studies, Public Space, Site, Landscape, Social Media and the Web Location MacLean 301
FVNM: Professional Development Strategies for Emerging Filmmakers	3919 (001)	Kera MacKenzie	Tues 3:30 PM - 6:15 PM In Person
Description This Professional Practice course is designed for students with practical experience and understanding of the language and process of fiction, non-fiction, hybrid or experimental film production, and who would like to prepare themselves for professional survival and growth as emerging filmmakers outside of school. The topics covered at the class will include: producing project proposals for grants, fellowships and labs; learning about local, national and international film communities, networks and institutions; discussing festivals and other conventional or DIY distribution models; learning about programming and writing about film as career paths; and strategies for building film communities and production teams such as companies and collectives. We will watch and discuss works by notable SAIC alumni such as Apichatpong Weerasethakul, and will have in-person and virtual visits and discussions with local and global filmmakers, programmers, distributors, centers and platforms. Selected successful recent film projects will be discussed as case studies; we will research the life of each project from ideation to fund-raising, production and distribution. Students will practice professional development by working around one of their own past or in-progress film projects and producing a body of documents around it, including a proposal for a grant or a lab, an artist/director statement, visual treatment and mood-board, and a written festival and distribution plan. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1590	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Playwriting/Screenwriting Location MacLean 517
FVNM: Writing and Art Direction for Animation	3920 (001)	Kate Stransky	Mon 12:15 PM - 3:00 PM In Person
Description This course teaches students how to use language creatively and practically in the development of animated media. As well as the role of art direction in the development of animation works. Students will develop skills in writing for the animated short, in relation to dialogue and visual description, treatments, and full scripts. The class will also cover in-depth art direction and pre-production. The goal of this class is to make students literate in the use of language and visuals in the creation of their work, as well as the utilization of these skills in professional animation studios. The class will also cover skills like pitching stories, writing project proposals and creating look books, decks etc.. Books will include; Writing for Animation, Comics, and Games by Christy Marx; Art Direction for Film and Video by Robert Olson Students will complete a series of assignments, based on their own ideas, and adapting existing texts, as well as each other¿s writing into visuals. The class will culminate in a final project proposal that will contain a script, synopsis, and visual art direction for an animated work. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1570	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Comics and Graphic Novels, Illustration Location MacLean 717
PERF: Professional Performance Practice	3921 (001)	Joseph Ravens/Rabensdorf	Thurs 12:15 PM - 3:00 PM In Person
Description How does a performance artist create a sustainable career and create a sustainable community in the world after college? This course will provide the nuts and bolts of how to build a career as a performance artist. We will delve into the politics of curating and representing diverse practices. Students will create their own public performance festivals in public or in site-specific spaces learning the mechanisms of getting funding and writing proposals. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1584	Credits 3	Department Performance Location MacLean 2M
Scientific Illustration	3921 (001)	Margaret Macnamara, Jennifer Lobo	Tues 9:00 AM - 3:00 PM In Person
Description This class will begin with a demonstration on traditional drawing techniques used to illustrate scientific material. Students will develop pencil and ink renderings as well as watercolor illustrations of animal, plant and insect species. Work will also include relevant habitat and scale information. Each Class will include a lecture and /or visit behind the scenes to a lab at the Field Museum. Working scientists will expose the students to common collection methods as well as specimen preparation such as bird and mammal taxidermy. Course work will be described at the beginning of each class. Midterm critiques, small groups of 5, will determine and promote individual projects to be presented in the Final Critiques.	Class Number 1793	Credits 3	Department Visual Communication Design Area of Study Illustration, Art and Science Location Field Museum East Entrance
Scientific Illustration	3921 (001)	Margaret Macnamara, Jennifer Lobo	Tues 9:00 AM - 3:00 PM In Person
Description This class will begin with a demonstration on traditional drawing techniques used to illustrate scientific material. Students will develop pencil and ink renderings as well as watercolor illustrations of animal, plant and insect species. Work will also include relevant habitat and scale information. Each Class will include a lecture and /or visit behind the scenes to a lab at the Field Museum. Working scientists will expose the students to common collection methods as well as specimen preparation such as bird and mammal taxidermy. Course work will be described at the beginning of each class. Midterm critiques, small groups of 5, will determine and promote individual projects to be presented in the Final Critiques.	Class Number 1793	Credits 3	Department Visual Communication Design Area of Study Illustration, Art and Science Location Field Museum East Entrance
PHOTO: Junior Seminar: Building a Sustainable Practice	3922 (001)	Sonja Ruth Thomsen	Wed 9:00 AM - 3:00 PM In Person
Description Junior Seminar helps students build essential professional skills for life after graduation, focusing on developing a sustainable practice based on their strengths and working style. This five-hour studio seminar offers flexible time for individual mentoring, guest speakers, field trips, extended critiques, and dedicated work time, fostering both professional growth and creative community. Through hands-on projects, students create websites, CVs, grant proposals, and artist statements while learning how to tailor these materials for different opportunities. As one of SAIC's four required Junior Seminars, this course provides structure and support within the school's open, interdisciplinary curriculum, helping students confidently navigate their future careers. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1576	Credits 3	Department Photography Area of Study Digital Imaging Location 280 Building Rm 214
Natural History Illustration	3922 (001)	Lauren E Johnson	Thurs 9:00 AM - 3:00 PM In Person
Description This course deals with painting plants, birds, reptiles and mammals. Botanical structure and basic anatomy are covered, as well as specific morphological information on textures, scales, feathers, and fur. Classes are held at the Lincoln Park Zoo, the Garfield Park Conservatory, the Chicago Botanic Garden (Fall Semester only) and the Field Museum of Natural History. We tour and work with specimens in the Field Museum research areas as well as work in the public collections. The most difficult part of this class is drawing a moving creature. Tackling this issue at the zoo enables the student to understand structure in the light of behavior and physical action. The importance of seeing and drawing live animals cannot be underestimated. Watercolor and gouache are used, so basic painting methods, color mixing, color layering and spatial dynamics are emphasized. This is an excellent class in which to improve observational skills. A point of departure for the course will be historical scientific illustrators such as Maria Sybilla Meriam, John James Audubon, Louis Agassiz Fuertes, as well as contemporary artists and illustrators like Walton Ford and Alexis Rockman. There is a new assignment each class, with many examples on an assignment sheet provided for guidance. There is a group critique every week, with discussion of how each student solved problems of accurate representation. Students are expected to have 10 excellent pieces by the end of the semester, to be presented at the final critique.	Class Number 1794	Credits 3	Department Visual Communication Design Area of Study Illustration, Art and Science Location Field Museum Basement
PRINT: Printmedia Platforms	3923 (002)	Nia Easley	Mon 12:15 PM - 3:00 PM In Person
Description Students will develop professional practices including collaborative and independent work situations, via roles as commissioned artist, master printer, or artist-designer. Students will seek real-world clients to complete assignments, foster relationships with graphic designers, small presses, or their artist peers. Contemporary alternative print production and distribution models such as the integration of art, music and publishing prevalent in DIY scenes (1990s and 2000s), to emerging artist multiple/subscription programs and book/print fairs will be also be studied. Prerequisites Prerequisite: Sophomore seminar course	Class Number 2196	Credits 3	Department Printmedia Area of Study Books and Publishing, Collaboration, Community and Locality, Comics and Graphic Novels, Social Media and the Web Location 280 Building Rm 203
PTDW: Professional Practice Topics	3924 (001)	Lorraine Peltz	Mon 12:15 PM - 3:00 PM In Person
Prerequisites Prerequisite: Sophomore seminar course	Class Number 1582	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
PTDW: Multi-Level Painting Studio	3925 (001)	Paola Cabal	Mon 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. This course also fulfills the 3900 Professional Practice course requirement. http://www.saic.edu/academics/departments/academicspine/professionalpracticeexperience/ Prerequisites Prerequisite: Sophomore seminar course	Class Number 1578	Credits 3	Department Painting and Drawing Location 280 Building Rm 321
PTDW: Prof Prac: I Made a Thing...	3926 (001)	Sam Jaffe	Thurs 12:15 PM - 3:00 PM In Person
Description In 'I Made a Thing', a Professional Practice Experience course offering, you will engage in a wide variety of activities designed to help prepare you for life after SAIC. Course activities may include creating a website, preparing a CV, attending networking events with alumni, and writing of a project statement. The course emphasizes hands-on, real-world professional activities and opportunities for emerging studio artists. This course will be broken into six units, each of which addresses a particular concern about what to do with studio work once it has been made. Each unit will typically contain a reading assignment, a writing assignment, and a project assignment. This course would be best suited for artists who are considering a career centered around an individually driven studio practice. Units include: I Made a Thing and I think I want to make more: how to develop a practical, long-term studio practice. I Made a Thing and I think it failed: how to embrace inevitable challenges and let your work be your teacher. I Made a Thing and I think I want people to look at it: how to cultivate a supportive creative community both physically and virtually. I Made a Thing and I think I want to use it to apply to/for stuff: how to get your work 'out there.' I Made a Thing and I think I want people to talk about it: how to engage your work with dialogue and criticism. I Made a Thing and I think I want someone to buy it: how to create your own art market. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1591	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
UGRD: (Re)Defining Success as an Art	3928 (001)	Lorraine Peltz	Fri 12:15 PM - 3:00 PM In Person
Description In this course, students will explore and create their own definitions of success, starting with their preconceived notions of what it means to be a successful artist. We will break down outdated expectations and myths and will rebuild unique, personal, and fulfilling plans for a creative life. Through writing, mentoring, and research students will explore career paths and what it means to live the flexible and nuanced life of an artist. We will investigate a number of topics and tools that support a career in the arts, including: mind-mapping, goal-setting, creating professional materials (CV, statement, bio), applying to professional opportunities such as grants and residencies, studio visits, and working with galleries. Course material will include artists¿ personal accounts of leading a creative life and tools they use to make projects more rich. This course involves numerous written assignments; students must be prepared to write and edit their work. Students will choose from a vast menu of short projects in order to tailor their experience in the class to their career goals. Final assignments will include 1) a clear personal vision of success; 2) steps for achieving short and long-term goals, and 3) refined professional materials suitable for application. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1568	Credits 3	Department Undergraduate Studies Location MacLean 112
VISCOM: Professional Practice	3932 (001)		Mon 12:15 PM - 3:00 PM In Person
Description This course includes guidance on the preparation and design of a resume and business card; the planning, development and design of an online portfolio; interview strategies and techniques; professional connections with practicing designers; and resources and advice for locating and contacting various types of design employers. This course is ideal for visual communication students preparing for internships or seniors preparing for entrance into the design profession. This course may be repeated. Prerequisites Prerequisite: VISCOM 3001 and 3011 and a sophomore seminar course	Class Number 1587	Credits 3	Department Visual Communication Design Area of Study Digital Communication, Graphic Design Location Sharp 1115
WRIT: Writing Junior Seminar	3933 (001)	Jenny Magnus	Thurs 12:15 PM - 3:00 PM In Person
Description This class will have as its focus the development of support materials and methods for professional practice relating to the work of writers and artists who engage in interdisciplinary projects with writing as a central element. This section is open to both BFAW Program students as well as non-BFAW students who are interested in developing professional practices strategies from that perspective. Across the semester, you will work to generate and fine-tune professional practice support materials such as artist statements and artist resumes, tap into SAIC's CAPX and research other current online resources for funding, publication and exhibition opportunities, and align and present your body of work in order to further define and articulate central lines of concept and inquiry. Additionally, we'll discuss assigned relevant readings and meet and speak with a local writer/artist concerning their own body of work and professional practice. Course work results in creating professional practice materials supporting a digital portfolio of your work and collaboratively participating in an exhibition and literary reading event. Prerequisites Prerequisite: Sophomore seminar course	Class Number 1583	Credits 3	Department Writing Area of Study Books and Publishing Location Lakeview - 808
ARTTHER: Exploring Social Practice: Art as Activism and Community Health	3934 (001)	Chun-Shan (Sandie) Yi	Tues 12:15 PM - 3:00 PM In Person
Description This course focuses on the intersecting ways artists engage people individually and collectively through the arts, including activism, education, therapy and social practice. Students will partner with galleries and organizations to realize a collectively developed project. Throughout the course close attention will be given to critical practices and methods, the ethics or working with community participants, self-reflexivity, the nature of professionalism within arts contexts, and the goals and impacts of art made with a participating public. Prerequisites Prerequisite: Sophomore seminar course	Class Number 2080	Credits 3	Department Art Therapy Area of Study Community & Social Engagement Location Sharp 402
UGRD: Professional Practices - Art Handling	3936 (001)	Daniel Gordon Baird	Thurs 12:15 PM - 3:00 PM In Person
Description In the Professional Practice Experience (PROFPRAC 39XX or DEPARTMENT 39XX) you will engage in a wide variety of professional practice activities to help prepare you for life after SAIC. Course assignments include preparing a CV, creating a website, writing a statement, attending events and more. Additional activities may include giving an artist talk, conducting an interview or hosting a community event. The course emphasizes hands-on, real-world professional activities and opportunities for emerging artists, designers, and scholars. You should plan to take Professional Practice Experience during your third year at SAIC. This iteration of Professional Practice specifically prepares students for work in the broad field of art handling. Students will learn formal installation techniques and best practices for storage and shipment. The class will focus on real world industry standards and engage with numerous local businesses via site visits, guest speakers and more. The writing and research components of the class will focus on resume development and letter writing in pursuit of these real world opportunities. Prerequisites Prerequisite: Sophomore seminar course	Class Number 2375	Credits 3	Department Undergraduate Studies Location Sharp 310
UGRD: Leadership in the Creative Economy - Homan Square	3937 (001)		Thurs 12:15 PM - 3:00 PM In Person
Description Leadership in the Creative Economy is a transformative course designed for creators, entrepreneurs, artists, and innovators who are ready to lead with intention. This course bridges the gap between creative passion and strategic leadership ¿ equipping students with the mindset, tools, and community to build something that lasts. Upon completing this course you will have a business plan and a blueprint for life as a leader. Students will be given several opportunities to meet with leaders working in creative spaces. Offsite visits include Gertie, The Land School, Monday Coffee, and Norman Teague (Max), Sam Lim (marketing executive). Students will also research three creative entrepreneurs or brands they admire, document their leadership style, business structure, and public positioning, while writing a reflective comparison to their own vision. Students will design a fully conceived creative organization from the ground up. They will produce a founding document that includes a mission statement, core values and an organizational structure with key roles and leadership positions. They will identify their audience or community and write a narrative on the cultural gap or need their organization addresses. Prerequisites Prerequisite: Sophomore seminar course	Class Number 2378	Credits 3	Department Undergraduate Studies Area of Study Community & Social Engagement Location Homan 1200
CAPX Internship	4001 (001)	Anna Laure Kielman	TBD - TBD In Person
Description This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.	Class Number 1167	Credits 1.5 - 3	Department Career and Professional Experience Location
Gen Sem: Documentary Poetics	4001 (001)	Leila A Wilson	Fri 8:30 AM - 11:15 AM In Person
Description An artist marks her journal with traces of food. An essayist compiles a glossary of terms for moving water. A novelist invents fragments of an outlaw's short life, while poets pay tribute to beech trees, miners, and railroads. They all document. They process their investigations through sketches and journal entries, interviews and testimonies, video clips and photographs, songs and maps. In this multi-genre course, students will research and write into one of their preoccupations. Through fieldwork, reading, critique, and revision, they will capture their discoveries. The final project will be a box that holds a creative work in dialogue with an archive of documents. Readings, references, and examples will draw from work by Lorine Niedecker, Terrence Hayes, Muriel Rukeyser, Robin Coste Lewis, Juliana Spahr, Paisley Rekdal, C.D. Wright, Robert Macfarlane, Claudia Rankine, Susan Howe, Mai Der Vang, Michael Ondaatje, and more. Prerequisites Prerequisite: WRIT 1102 or WRIT 2040 or permission of the instructor.	Class Number 1824	Credits 3	Department Writing Location Lakeview - 808
Advanced Painting Studio	4001 (001)	Karen Azarnia, Dan Devening, Robert Burnier	Mon, Tues, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials. Prerequisites Prerequisite: PTDW 3001, 3003 or 3030	Class Number 1628	Credits 9	Department Painting and Drawing Location MacLean Center 11th Floor, MacLean Center 11th Floor, MacLean Center 11th Floor
Advanced Painting Studio	4001 (001)	Karen Azarnia, Dan Devening, Robert Burnier	Mon, Tues, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials. Prerequisites Prerequisite: PTDW 3001, 3003 or 3030	Class Number 1628	Credits 9	Department Painting and Drawing Location MacLean Center 11th Floor, MacLean Center 11th Floor, MacLean Center 11th Floor
Advanced Painting Studio	4001 (001)	Karen Azarnia, Dan Devening, Robert Burnier	Mon, Tues, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials. Prerequisites Prerequisite: PTDW 3001, 3003 or 3030	Class Number 1628	Credits 9	Department Painting and Drawing Location MacLean Center 11th Floor, MacLean Center 11th Floor, MacLean Center 11th Floor
CAPX Internship	4001 (002)		TBD - TBD In Person
Description This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.	Class Number 1168	Credits 1.5 - 3	Department Career and Professional Experience Location
Gen Sem:Narrative Prose	4001 (002)	Suzanne Scanlon	Mon 8:30 AM - 11:15 AM In Person
Description Course topics vary by term and instructor. See topic description for more information. Prerequisites Prerequisite: WRIT 1102 or WRIT 2040 or permission of the instructor.	Class Number 1820	Credits 3	Department Writing Location Lakeview - 803
CAPX Internship	4001 (003)	Danny Floyd	TBD - TBD In Person
Description This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.	Class Number 1169	Credits 1.5 - 3	Department Career and Professional Experience Location
CAPX Internship	4001 (004)	Joshua Rios	TBD - TBD In Person
Description This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile. Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX. Note that international students must receive CPT authorization prior to participating in an off-campus internship. Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.	Class Number 1170	Credits 1.5 - 3	Department Career and Professional Experience Location
Advanced Sculpture: Interdisciplinary Projects	4002 (001)	Juan Angel Chavez	Fri 9:00 AM - 3:00 PM In Person
Description This advanced, interdisciplinary course provides a generative space for developing and understanding creative projects through the discourse of the field of Sculpture. Students in this course come together from various departments to enrich the content of their work through critique and conversation with Sculpture faculty and other advanced level students from across the school. Weekly readings inform the development of self-directed creative projects which form the basis for discussion and may form the basis for a thesis body of work. Prerequisites Prerequisite: 3 credits SCULP 2000 or SCULP 3000-level; open to Juniors and Seniors only.	Class Number 1723	Credits 3	Department Sculpture Location 280 Building Rm 015
Advanced Woven Structure	4003 (001)	Kira Dominguez Hultgren	Thurs 9:00 AM - 3:00 PM In Person
Description This intensive studio course will focus on weaving and its relation to the evolving landscapes of contemporary art, cultural production, and identity. Working with multi-harness floor looms, students will engage rigorous conceptual questions in abstraction, figuration, sculptural form, spatial intervention, performative action, technology, and language to develop a mature body of woven work. Vocabulary will be expanded through the study of complex woven constructions, digital drafting, and dye processes. Feminist, queer, and decolonial approaches to weaving will be introduced and encouraged. Designed for advanced students, this course engenders an interdisciplinary weaving practice by blurring the boundaries between fiber, critical craft, painting, material culture, sculpture, textile history, architecture, and technology studies. Students will consider the history and the future of the field through a varying roster of artists including significant figures such as Sheila Hicks, Lenore Tawney, Magdalena Abakanowicz, and Olga de Amaral alongside contemporary generations such as Sonya Clark, Miguel Arzabe, Diedrick Brackens, Erin M. Riley, Josh Faught, Samantha Bittman, and Cecilia Vicuña. This work will be supported by texts that typically include Anni Albers, Legacy Russel, T'ai Smith, Julia Bryan-Wilson, and César Paternosto. Critical discussion of core texts and individualized research will occur in tandem with weekly studio activity. Students will produce a series of studies and 2 - 4 fully realized woven works that will be developed through in-process discussions and presented in major critique settings. This course facilitates self-directed investigation of concept and technique in hand weaving. Prerequisites FIBER 2002 or Junior & above	Class Number 1393	Credits 3	Department Fiber and Material Studies Location Sharp 1011
Advanced Offset Productions	4003 (001)	Eric Von Haynes	Wed 9:00 AM - 3:00 PM In Person
Description This course provides instruction in conceptualizing, producing, and distributing printed artists' multiples. It is designed to be project based, prioritizing students' individual goals, rather than covering a general range of information. Therefore, technical demos will be offered as needed. Critiques will focus on the conceptual use of the multiple as art, with particular attention paid to exploration of alternative venues for viewing and distribution. Students will acquire enhanced skills in design, spot-color layering, the production of multiples, and methods of distribution to inform their self-directed creation of publications and multiples.	Class Number 1558	Credits 3	Department Printmedia Area of Study Books and Publishing, Comics and Graphic Novels Location 280 Building Rm 220
Advanced Printmaking	4004 (001)	Peter Power, Anna Laure Kielman	Thurs, Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Designed for advanced-level printmedia students, this course centers the studio as a site for physical and conceptual production. A combination of independent work time, individual meetings, group critiques and assigned prompts form the bulk of course programming. Students are expected to set personal goals informed by dialogue with course faculty and studio peers. Attention will be paid to independent practices and/or professional strategies beyond school. The course supports student production of a focused body of creative work. This course requires instructor consent. Please do not email the instructor directly. Instead, fill out the form found at this link, https://tinyurl.com/3mhcmx54, to submit your portfolio and list of Printmedia classes taken in the Printmedia department. Prerequisites Students must take three 2000-level and above PRINT classes and Professional Practices to enroll	Class Number 1552	Credits 3	Department Printmedia Location 280 Building Rm 221, 280 Building Rm 222, 280 Building Rm 223
Advanced Printmaking	4004 (001)	Peter Power, Anna Laure Kielman	Thurs, Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Designed for advanced-level printmedia students, this course centers the studio as a site for physical and conceptual production. A combination of independent work time, individual meetings, group critiques and assigned prompts form the bulk of course programming. Students are expected to set personal goals informed by dialogue with course faculty and studio peers. Attention will be paid to independent practices and/or professional strategies beyond school. The course supports student production of a focused body of creative work. This course requires instructor consent. Please do not email the instructor directly. Instead, fill out the form found at this link, https://tinyurl.com/3mhcmx54, to submit your portfolio and list of Printmedia classes taken in the Printmedia department. Prerequisites Students must take three 2000-level and above PRINT classes and Professional Practices to enroll	Class Number 1552	Credits 3	Department Printmedia Location 280 Building Rm 221, 280 Building Rm 222, 280 Building Rm 223
Advanced Throwing	4005 (001)	Javier Jasso	Sat 10:00 AM - 4:00 PM In Person
Description This course will serve to illuminate and complicate the opportunities and challenges associated with making ceramics on the throwing wheel. Invented in Mesopotamia roughly 5000 years ago, the potter's wheel was a tool intended to speed up and increase consistency in the production of utilitarian ceramic vessels. The spectrum of practitioners using the potters wheel today spans the world and ranges from traditional artisans, design and crafts people to contemporary artists. Working with regard to this dynamic reality, this course will work to address and accommodate all manner of interests with the goal to enable students to make diligent use of the potter?s wheel, both in consideration of historical and contemporary methods and dialogs. Advanced Throwing is for students already proficient in throwing techniques Pre rec. Wheel Throwing Fundamentals and Intermediate Throwing CER We will look at artists working both in traditional and non-traditional methods. Artists will vary, but some we will look at include: Yuta Segawa, Dove Drury, Adam Silverman, Donte K. Hayes, Carl-Harry St?lhane, Gerrit Grimm, Steve Lee, and more. Readings will include articles covering topics about the convergence of fine art and craft, how objects affect our daily life and rituals, the place of craft within contemporary society. Specific authors may be : Jenni Sorkin, Okakura Kakuzo and Edmund de Waal Students should expect to produce two bodies of work consisting of 20-30 finished pieces during the semester, to be presented in mid-term and final critiques. Prerequisites Must have completed one of CER 1001, CER 1012, CER 2005, CER 3000, CER or 3010	Class Number 1175	Credits 3	Department Ceramics Location 280 Building Rm M153
Brave New Bodies : Posthuman Practices	4005 (001)	Lee Blalock	Mon 9:00 AM - 3:00 PM In Person
Description This project-based course explores empathy and discovery through the framework of the posthuman, drawing from the diverse disciplines that define this field. By examining the core concepts of posthumanism, students often gain new perspectives on what it means to be human, the nature of humanity under threat, and the vital lessons we can glean from non-human life forms. Conceptual inspiration for projects will come from survival systems, body modification, and our non-human sentient relatives. Project possibilities are extensive, ranging from functional exoskeletons to screen-based avatar performances and abstract works. Students will present proposals in the second class meeting and will complete one or two fully realized projects using technology-based media. Past student work has included wearable instruments, perception-altering animal-hybrid suits, and anti-gravity animations. Weekly readings will cover diverse topics such as embodiment, hybrid identities, body modification, contemporary medical advancements, and the concept of 'fleshy data.' Each class session is structured to include a lecture or presentation, a discussion or concept workshop, and dedicated project work time. In this advanced setting, students of all technical proficiencies are welcome; big ideas paired with beginner skills are as supported as underdeveloped concepts with advanced skills. Robust support will be provided for students at every technical level.	Class Number 2191	Credits 3	Department Art & Technology / Sound Practices Area of Study Gender and Sexuality, Art and Science Location MacLean 402
Advanced Fiber and Material Studies Studio	4005 (001)	L Vinebaum, Nia Easley	Tues/Thurs 9:00 AM - 3:00 PM In Person
Description This course provides an interdisciplinary forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. This is a team-taught class and will utilize both instructors for critiques and group activities. Emphasis is on individual studio practice and the development of a more cohesive body of work within a faculty mentorship and peer-to-peer learning structure. Technical and conceptual input will be provided on a tutorial basis. Group discussions, readings, field trips to current exhibitions, and visiting lecturers augment this class. Professional practices will focus on the creation and display of discrete objects and/or installation work for the BFA Exhibition, supported by developing or refining a professional resume and an artist statement. Documentation of individual work for inclusion on the Fiber & Material Studies web page is also required. The print, dye, sewing, and mixed media facilities of the department are available to enrolled students to use. This class is for a minimum of 6 credit hours and is held weekly over a two-day period on Tuesdays and Thursdays. Open to Juniors and Seniors with instructor permission and signature. Course work varies but typically includes the production of major studio projects for critique, student presentations, professional development assignments, documentation of work, and the installation of work in the class display case and an open studio event. Prerequisites Open to students at Junior level and above.	Class Number 1394	Credits 6	Department Fiber and Material Studies Location Sharp 1001
Advanced Fiber and Material Studies Studio	4005 (001)	L Vinebaum, Nia Easley	Tues/Thurs 9:00 AM - 3:00 PM In Person
Description This course provides an interdisciplinary forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. This is a team-taught class and will utilize both instructors for critiques and group activities. Emphasis is on individual studio practice and the development of a more cohesive body of work within a faculty mentorship and peer-to-peer learning structure. Technical and conceptual input will be provided on a tutorial basis. Group discussions, readings, field trips to current exhibitions, and visiting lecturers augment this class. Professional practices will focus on the creation and display of discrete objects and/or installation work for the BFA Exhibition, supported by developing or refining a professional resume and an artist statement. Documentation of individual work for inclusion on the Fiber & Material Studies web page is also required. The print, dye, sewing, and mixed media facilities of the department are available to enrolled students to use. This class is for a minimum of 6 credit hours and is held weekly over a two-day period on Tuesdays and Thursdays. Open to Juniors and Seniors with instructor permission and signature. Course work varies but typically includes the production of major studio projects for critique, student presentations, professional development assignments, documentation of work, and the installation of work in the class display case and an open studio event. Prerequisites Open to students at Junior level and above.	Class Number 1394	Credits 6	Department Fiber and Material Studies Location Sharp 1001
Studio Practice: Printmedia	4005 (001)	Ayanah Moor	Tues 9:00 AM - 3:00 PM In Person
Description Designed for advanced-level Printmedia students, this course centers the studio as a site for physical and conceptual production. A combination of independent work time, individual meetings, group critiques and assigned prompts form the bulk of course programming. Students are expected to set personal goals informed by dialogue with course faculty and studio peers. Attention will be paid to independent practices and/or professional strategies beyond school. The course supports student production of a focused body of creative work. Students accepted into this section will be given an undergraduate studio in the 280 Building. Please note that during class time, students in this section don't have access to any print facilities other than their studio space. Participation in group discussions and active engagement in class critiques is essential. Students are required to contribute to critical discussions around their own work as well as to discussions relating the work of their peers. The assignments intend to develop critical thinking skills related to individual ongoing projects. They also intend to aid in the developing the ability to articulate ones- artistic motivations, be self-critical, and take risks in creating new work. The final critique will take into account these factors. This course requires instructor consent. Please do not email the instructor directly. Instead, fill out the form found at this link, https://tinyurl.com/mr7krnmz, to submit your portfolio and application before the deadline. Prerequisites Prerequisite: Professional practice course	Class Number 1562	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 203
Advanced Painting Workshop 4000: One Painting	4006 (001)	Sam Jaffe	Mon 9:00 AM - 3:00 PM In Person
Description This advanced undergraduate studio course guides students through the conceptualization, development, and completion of a single, ambitious painting over the course of a semester. Structured deadlines for each phase - concept development, studies, support construction, first layers, refinement, finishing touches, and final presentation provide a framework for sustained creative engagement and disciplined studio practice. Close study of particularly epic historical and contemporary works will provide technical and conceptual context, while selected artist writings will serve as weekly prompts for critical reflection. Group critiques and individual mentorship will help students to cultivate effective work habits, develop strategies for overcoming creative blocks, and sustain momentum on a long-term project. Particular attention will be given to the power of revision, underscoring that ambitious artistic outcomes emerge through reworking, layering, and persistence rather than immediate perfection. This course is ideal for students seeking the time, space, and support to create a culminating work, as well as those looking for a 3-credit alternative to Advanced Painting Studio. We will look at particularly ambitious works that involve paint by Michaelangelo, Velázquez, Géricault, Bosch, Van Eyck, David, De Cherico, Varo, Darger, Marshall, Brown, Saville, Rivera, and many more. Possible Lecture/Discussion Topics include: Compositional strategies, Artists who revise and repaint, What is a masterpiece?, Monumental paintings from ancient to contemporary, When is a painting finished? Course requirements include active participation in class discussions, critiques, and studio sessions, consistent weekly painting, a short visual presentation contextualizing student work within contemporary and historical frameworks or a presentation on an epic, historical painting of a student's choice, three critiques, and one completed painting due on the last day of class. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 2247	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Off-Campus Study	4008 (001)		TBD - TBD In Person
Description In consultation with Study Abroad, undergraduate students may spend up to two semesters (30 credit hours) at approved partner schools, or at another Association of Independent Colleges of Art and Design (AICAD) school in North America. Various types of credit can be earned depending on the host school?s offerings. Approval from Study Abroad is required. The process has two steps; the student first submits an application and portfolio to Study Abroad and it is reviewed by a faculty panel. If approved to proceed, the student then applies to the proposed host school. Information and resources about International Exchange, AICAD Exchange, and Tuition Transfer programs are available at Study Abroad.	Class Number 2352	Credits 12 - 18	Department Off Campus Location
The Working Artist: Life After School	4008 (001)	Lorraine Peltz	Thurs 12:15 PM - 3:00 PM In Person
Description This course is a multidisciplinary seminar that will present strategies for developing and sustaining your own studio practice and help prepare you for life after art school. It will provide practical instruction in getting started on and succeeding with your career after graduation and help you gain a critical understanding of your own artwork or creative endeavor and it's relationship to the larger cultural moment. The student will have the opportunity to create a cohesive body of work or curatorial project specific to each individual student's interest. Additionally, we will examine art historical precedents, contemporary ideas and practices in the art world, and the role of the artist in contemporary culture. The textbook for the class is Art/Work-Everything You Need to Know (and Do) as you Pursue your Art Career, Heather Darcy Bhandari and Jonathan Melber, in addition to readings from current sources, such as Artforum, Art News, New York Times, etc. The student will propose a project that he or she will complete over the course of the semester (which can include preparation for the BFA Exhibition.)The class will include readings and discussions, individual presentations, writing an artist's statement, resume, and cover letter, press release and exhibition announcements, project proposal, and discussions with visiting artists and curators, gallery and museum visits, and class critiques. We will explore graduate school considerations, traditional and alternative strategies for exhibiting and self-promotion, developing an online presence, creating a support system and community, and earning a living as an artist. You will be also presenting your endeavors through at least one PowerPoint presentation. Prerequisites Open to students at Junior level and above.	Class Number 1087	Credits 3	Department Arts Administration and Policy Location MacLean 111
Top:Conspiracy Theory	4010 (001)	Kristi Ann McGuire	Tues 6:45 PM - 9:30 PM In Person
Description Conspiracy Theory and Other Metanarratives The term 'conspiracy theory' has long been used to indicate a narrative genre that includes a broad selection of arguments for the existence of systemic furtive acts. Cautiously construing a space between the unwarranted and the unidentifiable, conspiracy works to situate grand narratives at the core of distinctions between the individual and the institution, public and private life, and visible and invisible architectures. At the same time, the events that sustain conspiratorial knowing are often articulated as the products of secret plots that are largely unknown to the general public, actively questioning how concerns with collective memory, loss, and paranoia fuel both the desire for transparency and our projective urge to insert ourselves into our uncomfortable past and unknown future. From Wikileaks, the Cold War, and the Kennedy Assassination, nostalgia-driven television programs (Quantum Leap, You Are There), astrology, and the history of editorial redactions to the work of writers and artists such as Mark Lombardi, Pierre Huyghe, Dziga Vertov, Spaulding Gray, and Don Delillo, we'll examine how the sense of a 'master plot' shapes the way we narrate social and cultural experiences. What role do these narratives play in our struggle to assign meaning to events and artworks that are otherwise inexplicable? And how does our fascination with conspiracy--and its often melancholic and performative relationship to loss--address the potential of 'putting right what once went wrong'? Prerequisites Prerequisite: First Year English requirement.	Class Number 1754	Credits 3	Department Liberal Arts Location MacLean 608
Top:Conspiracy Theory	4010 (001)	Kristi Ann McGuire	Tues 6:45 PM - 9:30 PM In Person
Description Conspiracy Theory and Other Metanarratives The term 'conspiracy theory' has long been used to indicate a narrative genre that includes a broad selection of arguments for the existence of systemic furtive acts. Cautiously construing a space between the unwarranted and the unidentifiable, conspiracy works to situate grand narratives at the core of distinctions between the individual and the institution, public and private life, and visible and invisible architectures. At the same time, the events that sustain conspiratorial knowing are often articulated as the products of secret plots that are largely unknown to the general public, actively questioning how concerns with collective memory, loss, and paranoia fuel both the desire for transparency and our projective urge to insert ourselves into our uncomfortable past and unknown future. From Wikileaks, the Cold War, and the Kennedy Assassination, nostalgia-driven television programs (Quantum Leap, You Are There), astrology, and the history of editorial redactions to the work of writers and artists such as Mark Lombardi, Pierre Huyghe, Dziga Vertov, Spaulding Gray, and Don Delillo, we'll examine how the sense of a 'master plot' shapes the way we narrate social and cultural experiences. What role do these narratives play in our struggle to assign meaning to events and artworks that are otherwise inexplicable? And how does our fascination with conspiracy--and its often melancholic and performative relationship to loss--address the potential of 'putting right what once went wrong'? Prerequisites Prerequisite: First Year English requirement.	Class Number 1007	Credits 3	Department Visual and Critical Studies Location MacLean 608
Comics Narratives: Illness, Disability and Recovery	4010 (001)	Bianca Xunise	Wed 12:15 PM - 3:00 PM In Person
Description This course explores narratives of illness, stigma, and marginalization told through comics and graphic novels. Students engage in reading, discussing, and making comics dealing with topics of physical and psychiatric illness, caregiving, and recovery. The current 'graphic medicine' movement, applications of comics in art therapy, and graphic novels and comics dealing with narratives of illness outside of a therapeutic or medical context are discussed and used as inspiration to generate content for student projects.	Class Number 1096	Credits 3	Department Art Therapy Area of Study Gender and Sexuality, Books and Publishing, Comics and Graphic Novels Location Sharp 403
Top: Wandering Uterus: Gender, Race, and Medicine	4010 (002)	Terri Kapsalis	Thurs 12:15 PM - 3:00 PM In Person
Description This interdisciplinary course approaches the topic of gender, race, and medicine from cultural, historical, and scientific perspectives. We consider hysteria (purported to be caused by a 'wandering uterus') and other mental afflictions associated with sex and gender, the foundation of U.S. gynecology and its dependence on enslaved bodies, the Women's Health Movement and its legacy, queer and trans health issues, and sex health education. Readings include works by Audre Lourde, Charlotte Perkins Gilman, Elaine Showalter, Leslie Feinberg and Andrea Smith. We will also consider the ways in which artists have addressed issues of gender, race and medicine in their work. Assignments include an interview project, written reflections, and a final research-based project. Prerequisites Prerequisite: First Year English requirement.	Class Number 1765	Credits 3	Department Liberal Arts Location MacLean 301
Top: Wandering Uterus: Gender, Race, and Medicine	4010 (002)	Terri Kapsalis	Thurs 12:15 PM - 3:00 PM In Person
Description This interdisciplinary course approaches the topic of gender, race, and medicine from cultural, historical, and scientific perspectives. We consider hysteria (purported to be caused by a 'wandering uterus') and other mental afflictions associated with sex and gender, the foundation of U.S. gynecology and its dependence on enslaved bodies, the Women's Health Movement and its legacy, queer and trans health issues, and sex health education. Readings include works by Audre Lourde, Charlotte Perkins Gilman, Elaine Showalter, Leslie Feinberg and Andrea Smith. We will also consider the ways in which artists have addressed issues of gender, race and medicine in their work. Assignments include an interview project, written reflections, and a final research-based project. Prerequisites Prerequisite: First Year English requirement.	Class Number 1008	Credits 3	Department Visual and Critical Studies Location MacLean 301
Topics in Visual and Critical Studies	4010 (004)	Kristi Ann McGuire	Thurs 6:45 PM - 9:30 PM In Person
Description Topics vary by semester. Please see individual topic descriptions. Prerequisites Prerequisite: First Year English requirement.	Class Number 2208	Credits 3	Department Visual and Critical Studies Location Lakeview - 203
Top:Gilles Deleuze	4010 (005)	Patrick Durgin	Wed 8:30 AM - 11:15 AM In Person
Description This course offers an introduction to the thought of the French philosopher Gilles Deleuze (1925-1995). Deleuze was one of the 20th century?s most influential critical theorists, almost single-handedly revising the reputation of Nietzsche in France, critiquing psychoanalysis in its postmodern heyday, and devising new approaches to ontology, leftist political theory, and literary and art theory. To this day, his concepts are frequently deployed in critical theory of all kinds, especially those concepts he developed in collaboration with activist and psychoanalyst Felix Guattari. Such concepts have even been accused of radical chic, and he remains a frequently cited but ?difficult? author to read. This course provides an introduction to the reading of Deleuze?s work. The goal of the course is to familiarize you with the contours of his career and acquaint you with his peculiar style of writing. It also acquaints you with a (very) few subsequent elaborations on Deleuzian thought. The course is structured into units corresponding to the core notions of becoming, encounter, schizoanalysis, and the rhizome. A fifth unit pursues Deleuze?s involvement with aesthetics and models some ways of applying Deleuzian thought. Expect to read much of Deleuze's own writing, critical reflections on it by Thomas Hirschorn and Elizabeth Grosz, among others..., and then to write two substantial essays elaborating on this material, attempting to make it serve your own interests as artists, historians, etc. Prerequisites Prerequisite: First Year English requirement.	Class Number 2245	Credits 3	Department Visual and Critical Studies Location Lakeview - 202
Bodymind Extensions: Deviance, Disability/Illness Narratives and Haptic Memories	4011 (001)	Chun-Shan (Sandie) Yi	Thurs 8:30 AM - 11:15 AM In Person
Description This experiential class is designed for artists who wish to develop a studio practice with a focus on the deviant bodymind histories and the representation of disability/illness narratives. Including perspectives both inside and outside of an artistic, therapeutic, and/or medical context. Students will learn to integrate disability aesthetics (Sieber, 2010), critical 'knowing-making' (Hamraie, 2017), crip technoscience (Hammraie and Fritsch, 2019), Crip Couture (Yi, 2020) and other disability art and design concepts and practices in their work. Students who are interested in the following area of practice/discipline might benefit from taking this course: art therapy and counseling, design object, fashion design, visual critical studies and fiber and materials studies. Artists/designers/theorists that may be referenced in the course include Panteha Abareshi, Kristina Veasey, Laura Splan, Rebecca Horn, Harriet Sanderson, Sins Invalid, Daniel Moraes, Lisa Bufano, Aimi Hamraie, Kelly Fritsch, Tobin Siebers. Students will create artworks that serve as an 'extension' of their bodymind state. 'Extensions' can include but are not limited to body adornments; wearable designs; physical, emotional or psychological aids; relational/interactive performances. Students will explore and choose media that reflect the wearer's (and or participant's) haptic memories and experiences of deviancy. Light reading, lectures, class discussions, gallery visits and visiting artist's talk will provide inspiration for students to develop their project.	Class Number 1099	Credits 3	Department Art Therapy Area of Study Gender and Sexuality, Costume Design, Class, Race, Ethnicity Location Sharp 402
Advanced Typography: Language and Image	4011 (001)	Georgia Bockos	Fri 9:00 AM - 3:00 PM In Person
Description Students are challenged on multiple levels in this advanced design course as they explore both practical and experimental solutions to visualizing language and communicating through typography. Building on skills acquired at the intermediate level, complex possibilities are thoughtfully examined and thoroughly investigated through intensive coursework. Students develop a heightened awareness of the nuanced role typography plays in communication, leaving them with a greater understanding of the visual impact ¿ and multidimensional aspects ¿ of language. Work is assessed on a weekly basis in group reviews, one-on-one discussions with instructor, and through individual analysis. Students should expect to engage in additional research and/or specific readings as needed or requested by the instructor. Work is developed through extensive iteration around a variety of topics where content may be supplied and/or self-directed. Students complete 3¿4 type-driven projects that emphasize the importance of process in the development and refinement of typography, as well as the ability to verbally present ideas and discuss developing work. Prerequisites Prerequisite: VISCOM 3011 or a Graduate Student	Class Number 1813	Credits 3	Department Visual Communication Design Area of Study Books and Publishing, Digital Communication, Graphic Design Location Sharp 1115
Advanced Finishings and Detail Seminar	4013 (001)		Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This studio class will focus on refinement and finishings in the production of garments by the senior fashion student. Advanced draping, patternmaking and finishing techniques will be explored and mastered as the students complete their semester's work for exhibition. Prerequisites FASH 2900 Pre-req	Class Number 1370	Credits 3	Department Fashion Design Location Sullivan Center 706, Sullivan Center 705
Digital Jacquard Weaving: Zeroes and Ones	4017 (001)	Erica Littlejohn	Sat 10:00 AM - 4:00 PM In Person
Description The computer driven Jacquard goes beyond the limitations of a floor loom by interfacing with a computer to allow for direct control of individual threads. This course explores the historical and conceptual interstices of digital technology and hand weaving through the use of this loom. Utilizing Photoshop and Jacquard weaving software, students realize projects that begin with digital source material and result in hand woven constructions. The strongly debated connection between the Jacquard loom's use of punched cards and the history of computers is central to the course, as is the contemporary use of the loom as a new media tool. Studio work blends work at the computer, weaving on the loom, reading, research and critical discussion. A personal laptop computer is required for this course.	Class Number 1406	Credits 3	Department Fiber and Material Studies Location Sharp 1011
Knowledge Lab: Regenerative Practices	4018 (001)	Corey William Hagelberg	Thurs 9:00 AM - 3:00 PM In Person
Description Around the globe and across disciplines, people are employing regenerative practices to address climate change, food insecurity, loss of biodiversity, the fracturing of community bonds, and social injustices. Reasserting our connections to ecological and social systems is vital to address these key issues and essential for our personal well-being. Regenerative practices support and restore local ecosystems, contribute to local climate resiliency, and fortify community ties. Through object-making, collaboration, and performance, this course will explore the relationship between the principles of regenerative thinking and contemporary art practices as we develop our own critical framework. We will be collectively innovating and together will be guided by actions, lectures, and readings. Our work will be informed by a broad range of visiting artists, ecologists, anthropologists, and interdisciplinary practitioners to present lectures and guided workshops. Our visitors supplement course content to present practices and philosophies that can help us consider our relationship to each other, the world around us, and to the past and future.	Class Number 1710	Credits 3	Department Sculpture Area of Study Community & Social Engagement, Art and Science, Sustainable Design Location 280 Building Rm 010
Micro/Macro Textiles: Artist Research	4018 (001)	Isaac Facio	Sat 1:00 PM - 3:45 PM In Person
Description This seminar will use the Textile Resource Center as source material to explore artist research practices. An emphasis will be placed on slow looking and hands-on study of objects to gain an understanding of textile and fiber structures, material choices, modes of fabrication and production, while assessing larger frames of cultural context, meaning and metaphor. Through thoughtful guided close observation, we will learn about the complex lives of objects and the stories that they tell us to inspire and act as a foundation for our own creative work. Classroom guests will include artists and scholars from areas in conservation, science and technology, and anthropology to extend our perspectives in how we view and understand objects. We will take field trips behind the scenes at the Art Institute, and also address topics in fiber morphology and mechanics, microscopy, collections care, exhibition, installation, curation, and collections management. Students will be expected to develop studio work, written research, and class presentations. Exploring these materials through drawing, notation, photography, video, live action, and remaking will be considered. Prerequisites Open to students at Junior level and above.	Class Number 1399	Credits 3	Department Fiber and Material Studies Area of Study Exhibition and Curatorial Studies Location Sharp 1003
Advanced Sculptural Practices Studio	4020 (001)	Stephen Reber, Jefferson Pinder	Tues, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This course provides a forum for in depth critiques and exploration of students' individual directions within the context of sculptural practice. Both technical and conceptual input will be given on a tutorial basis. Group discussions, readings, slide/video presentations, field trips and visiting lecturers may augment this class. Enrolled students will be assigned a studio space in the Columbus building. A maximum of 15 students will be admitted per semester. IMPORTANT: This course requires instructor consent. Please do not email the instructor directly. Instead, fill out the form found at this link, https://tinyurl.com/yjpm32ww, to submit your portfolio and application before the deadline.	Class Number 1708	Credits 6	Department Sculpture Location 280 Building Rm 032, 280 Building Rm 032
Advanced Sculptural Practices Studio	4020 (001)	Stephen Reber, Jefferson Pinder	Tues, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This course provides a forum for in depth critiques and exploration of students' individual directions within the context of sculptural practice. Both technical and conceptual input will be given on a tutorial basis. Group discussions, readings, slide/video presentations, field trips and visiting lecturers may augment this class. Enrolled students will be assigned a studio space in the Columbus building. A maximum of 15 students will be admitted per semester. IMPORTANT: This course requires instructor consent. Please do not email the instructor directly. Instead, fill out the form found at this link, https://tinyurl.com/yjpm32ww, to submit your portfolio and application before the deadline.	Class Number 1708	Credits 6	Department Sculpture Location 280 Building Rm 032, 280 Building Rm 032
Heavy Cardboard: Designing Boardgames	4020 (001)	Stephen Farrell	Wed 9:00 AM - 3:00 PM In Person
Description This course explores boardgame design as an expression of data visualization and user interface (UI) within a play environment. Teams of students will develop their chosen research areas into fun, strategic, well-crafted integrations of theme, game mechanics and world order. Resource management will provide a framework for developing mechanics, while playtesting and prototyping will drive teams¿ iterative process. The only way to truly understand how boardgames work is to play boardgames and analyze the play experience. To this end, much of our in-class time will be spent 1.) playing existing games that highlight certain game mechanics and levels of difficulty, and 2.) repeatedly play-testing each others' evolving games. How does each game immerse us? Do their themes come forth and flow through the game mechanics? Are they fun, unpredictable, balanced? How does each one situate its players in a point of view? How does graphic design facilitate immersion and theme and an understanding of structures and actions. Lectures, team presentations, and individual team meetings with teachers will supplement game play. The course will begin with one-week studio exercises focused on theming, game mechanics and visualization techniques for boardgames. Over the semester, teams of students will research, design and prototype a Eurostyle boardgame of their choosing. The final will include a prototype of the game, rulebook, and overview teach video. Prerequisites Student must have completed one of VISCOM 3002/3045/4535/4590, or be a graduate student.	Class Number 1811	Credits 3	Department Visual Communication Design Location Sharp 1117
Botanical Revolutions: The Emergence of Plants in Contemporary Art	4021 (001)	Giovanni Aloi	Tues 12:15 PM - 3:00 PM In Person
Description The perceived passivity and resilient silence of plants have relegated the vegetal world to the cultural background of human civilization. However, the recent emergence of plants in the gallery space is an invitation to reappraise this relationship at a time of deep ecological and social crisis. This course focuses on plants to unravel histories of colonialism, address gender biases, racial discrimination, and social injustice. We explore how artists and scholars working at the intersection of art, science, philosophy, and indigenous knowledge are rethinking our relationships with plants in order to envision more sustainable and fairer futures. This course proposes a rich, diverse, and multicultural perspective on the many roles plants play in our lives. It inlcudes lectures, close readings, screenings, museum visits, discussions, collaborative coursework, and contributions by Chicago-based organizations working with local communities and plants. The work of scholars and artist Yota Batsaki, Elain Gan, Vivien Sansour, Vandana Shiva, Mogaje Guihu, Anna Tsing, Monica Gagliano, Eduardo Kac, Jamaica Kinkaid, Derek Jarman, Wangari Maathai, Zayaan Khan, Kapwani Kiwanga, Maria Thereza Alves, Shela Sheikh, Michael Marder, Monica Galliano, Rashid Johnson, Uriel Orlow and many more will provide students with a comprehenisve and global and very contemporary perspective on the subject. Coursework includes weekly reading responses, a formal/final research paper, a test, and a presentation. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1002	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Economic Inequality & Class, Art and Science Location MacLean 920
Artist Start-Up: Small Businesses, Small Organizations	4022 (001)	Adama Ka	Fri 12:15 PM - 3:00 PM In Person
Description This course prepares students to start and manage arts businesses or organizations - whether it be concerning a for-profit or non-profit so that students can see the similarities and differences between the two types of organizations which comprise the field of arts administration. The course surveys the entrepreneurial practices of the for-profit sector as well as the mission-driven operations of the nonprofit sector. Skill Sets Learned include: how to choose the correct legal entity; staff management: interviewing, hiring, and directing; understanding Marketing strategy using the 5Ps approach (Product, Price, Packaging, Promotion, and Place); basic awareness of Accounting and Financial Records; knowledge of the basics of Contracts and Intellectual Property so as to protect their creative work; familiarity with the basic principles of Economics that affect their business; potential sources of business loans and investors; selecting appropriate Business Insurance; and Business Ethics. Students write a brief business plan so as to understand of the components and activities that are relevant to a plan. Additionally there is an assignment for a manager's perspective for a business start up and another for a marketing plan. Course includes 2 written exams in which the student is hired as a business consultant to advise a new business. Also, there are several in-class activities to enhance student's working knowledge of various business concepts. Prerequisites Open to students at Junior level and above.	Class Number 1093	Credits 3	Department Arts Administration and Policy Area of Study Product Design Location Lakeview - 206
Tragic Beauty: English Gardens, Settler Colonialism and Trans-Atlantic Slavery	4024 (001)	Rhoda Rosen	Wed 8:30 AM - 11:15 AM In Person
Description This course contextualizes English gardens and their design features within larger ideas of land ownership at the level of private ownership, the nation, and Empire. It examines the way the design of 18th and 19th century British landscapes served the needs of early modern industrialists in England and shaped the identity of colonizer in relation to colonized subjects. In this course, we will study examples of private gardens, early botanic gardens, and other colonial gardens, including plantations, in order to explore at the critical way plants and gardens were used to dispossess people of land and culture in Europe and abroad. In Europe, we will look at the way land enclosure might be said to have produced a British working class. In the colonies, we will look at the role plants and gardens played in extending British authority over its colonial subjects and how the deep knowledge that indigenous and slave communities had about plants was stolen, lost or engaged in that process. There are weekly readings for this course, and a final scaffolded research paper. Although a final research paper is submitted, students are expected to submit along the way other smaller assignments related to that final research project, such as a paragraph thesis statement, a bibliography, an outline, a full draft and then the final revision. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1042	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Economic Inequality & Class, Public Space, Site, Landscape Location MacLean 608
Advanced Screenwriting	4025 (001)	John Petrakis	Thurs 3:30 PM - 6:15 PM In Person
Description Advanced Screenwriting is designed for students who have completed Beginning Screenwriting, or its equivalent, and are interested in pursuing the art and craft of feature-length screenwriting. The entire semester will be devoted to the completion of the first draft of one feature-length script by each student. All ten students in the class will be working on their own individual scripts, and by reading them aloud during class in a workshop structure, complete with post-reading discussion, it will allow students to participate in the creation of not just one, but ten, feature-length scripts. Since Advanced Screenwriting is first and foremost a writing class, requiring copious amounts of scripting and drafting, there will be no formal reading or viewing assignments. However, throughout the semester, the professor will recommend books or films that will assist in the development or completion of the students' first drafts. For instance, a film such as Aki Kaurismaki's 'Ariel' will be referenced as an example of how to develop powerful themes in a relatively short amount of screen time. Students are required to complete the first draft of a feature-length screenplay, approximately 90-110 pages. Completion of the draft, and a final thumbs-up by the teacher, are required to pass the course. Prerequisites Prerequisite: FVNM 3024 or FVNM 3124.	Class Number 1439	Credits 3	Department Film, Video, New Media, and Animation Area of Study Books and Publishing, Playwriting/Screenwriting Location MacLean 517
Advanced Furniture: Design and Construction	4026 (001)	Casey C. Lurie	Mon 9:00 AM - 3:00 PM In Person
Description Within a structured studio environment, advanced-level students develop, refine, and execute an individual furniture concept. Students progress from the conceptual design stage, through design development to the actualization of a work that can be `tested? for public review. Students are challenged to develop concise and persuasive arguments regarding the motivation, development, execution, and dissemination of their design project. Through the articulation and advocacy of their design work, students define their role as a dynamic catalyst operating within real-world social-, political-, monetary-, and cultural-economies. Students are admitted via a portfolio application reviewed by the faculty. Prerequisites DESOB 4025	Class Number 1279	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1242
Advanced Papermaking	4027 (001)	Angela Davis Fegan	Fri 9:00 AM - 3:00 PM In Person
Description A detailed exploration of contemporary handmade paper techniques and fibers with an emphasis on development on a body of work that ties students¿ existing studio practice to production of handmade paper objects. Building on the knowledge of the fibers introduced in Papermaking 1 (cotton, abaca and mulberry), although not a prerequisite, students will be introduced to three additional fibers (flax, hay, and sisal) while exploring production methods that lend themselves to creating imagery and language. Each lecture will focus on a specific fiber or production method (i.e. stenciling, pulp throwing, pigment). This course deepens familiarity with production methods through self directed conceptual projects, experiment with additional high cellulose fibers and use handmade paper as an essential component of your studio practice. Students will investigate material relevant to their interests, cook fibers, and beat their own paper pulp with the valley beater. Prerequisites Open to students at Junior level and above.	Class Number 1404	Credits 3	Department Fiber and Material Studies Area of Study Public Space, Site, Landscape, Art and Science, Sustainable Design Location Sharp 1014
We'll Fix It In Post: Postmodernism, Poststructuralism, Posthumanism	4030 (001)	Seth Kim-Cohen	Tues 8:30 AM - 11:15 AM In Person
Description What the heck is postmodernism? Why does it matter? This course will provide detailed answers to these questions while also reviewing crucial interventions in related 'posts' such as poststructuralism and posthumanism. We will examine the systems of thought that predate these posts ¿ modernism, structuralism, humanism ¿ in order to identify how and why thinkers and artists felt the need to push past these systems, inventing new ones. We will trace these legacies into our own moment of contested values and malleable truth in order to seek insights into how to live, make, and think in the twenty-first century. This course is reading-heavy and the readings are heavy readings. We will explore the most influential theorizations of the postmodern from writers including Jean-François Lyotard and Frederic Jameson. We will also read the heavy-hitters of poststructuralism and posthumanism. Folks like: Jacques Derrida, Judith Butler, Donna Harraway, Gilles Deleuze, Katherine Hayles, Michel Foucault, Roland Barthes, and Julia Kristeva. Course work will include weekly reading responses, intensive class discussion, and a final paper. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1059	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality, Class, Race, Ethnicity, Economic Inequality & Class Location MacLean 620
Artist Archive and Legacy - SITE Galleries Archive	4031 (001)	Nicholas Lowe	Thurs 12:15 PM - 3:00 PM In Person
Description In this interdisciplinary studio-seminar, students will work with SITE Galleries and its archive. Founded in 1994, SITE, once known as the Student Union Galleries (SUGs), is a student-run organization at the School of the Art Institute of Chicago (SAIC) for the exhibition of student work. SITE was created as a response to the lack of spaces on SAIC's campus to accommodate the display of student work. Since then, SITE has had the support of faculty advisors and staff and has supported the professional development of roughly 80 student staff members, produced over 260 exhibitions, and has served more than 850 student artists. For more details about SITE Galleries, visit the following link - https://sites.saic.edu/sitegalleries/# This class will join the legacy celebration of SITE's 30th anniversary and will continue work with SITE's archive to support the efforts of bringing it to a publicly accessible stage while understanding the archival needs of the paper-based collection of ephemera, promotional materials and digital documentation. The class readings and course content will include material that addresses a range of contemporary approaches to archive management and mediation focusing on specific institutional examples alongside the work of practitioners in the field of archival management and research.	Class Number 1089	Credits 3	Department Arts Administration and Policy Area of Study Exhibition and Curatorial Studies Location Lakeview - 1507
Artist Archive and Legacy - SITE Galleries Archive	4031 (001)	Nicholas Lowe	Thurs 12:15 PM - 3:00 PM In Person
Description In this interdisciplinary studio-seminar, students will work with SITE Galleries and its archive. Founded in 1994, SITE, once known as the Student Union Galleries (SUGs), is a student-run organization at the School of the Art Institute of Chicago (SAIC) for the exhibition of student work. SITE was created as a response to the lack of spaces on SAIC's campus to accommodate the display of student work. Since then, SITE has had the support of faculty advisors and staff and has supported the professional development of roughly 80 student staff members, produced over 260 exhibitions, and has served more than 850 student artists. For more details about SITE Galleries, visit the following link - https://sites.saic.edu/sitegalleries/# This class will join the legacy celebration of SITE's 30th anniversary and will continue work with SITE's archive to support the efforts of bringing it to a publicly accessible stage while understanding the archival needs of the paper-based collection of ephemera, promotional materials and digital documentation. The class readings and course content will include material that addresses a range of contemporary approaches to archive management and mediation focusing on specific institutional examples alongside the work of practitioners in the field of archival management and research.	Class Number 2081	Credits 3	Department Historic Preservation Area of Study Exhibition and Curatorial Studies Location Lakeview - 1507
Public Light and Space	4032 (001)	Jan Tichy	Thurs 9:00 AM - 3:00 PM In Person
Description Public Light and Space explores how artists use light to shape public environments, creating works that invite interaction, alter perception, and transform shared spaces. The course engages with histories and theories of public art while critically examining the dynamic role of light in selected movements and practices. Students will conceptualize and plan site-responsive projects for specific locations across Chicago, with attention to methods such as digital projection, controlled light sources, and light-responsive materials. The course offers a distinctive opportunity: a collaboration with Public Sound & Space (led by Austen Brown) to produce new large-scale projection and sound works for Art on the Mart, the monumental projection site on the historic Merchandise Mart building. Each student team will design an original artwork to be exhibited nightly for six weeks, reaching an audience of nearly 300,000 viewers. A sequence of technical workshops supports skill development, while visiting artists, critics, and community members provide feedback throughout the creative process. The semester culminates in the public debut of student works on one of the world's largest projection canvases.	Class Number 1535	Credits 3	Department Photography Area of Study Costume Design, Community & Social Engagement, Art and Science Location MacLean 414
Public Light and Space	4032 (001)	Jan Tichy	Thurs 9:00 AM - 3:00 PM In Person
Description Public Light and Space explores how artists use light to shape public environments, creating works that invite interaction, alter perception, and transform shared spaces. The course engages with histories and theories of public art while critically examining the dynamic role of light in selected movements and practices. Students will conceptualize and plan site-responsive projects for specific locations across Chicago, with attention to methods such as digital projection, controlled light sources, and light-responsive materials. The course offers a distinctive opportunity: a collaboration with Public Sound & Space (led by Austen Brown) to produce new large-scale projection and sound works for Art on the Mart, the monumental projection site on the historic Merchandise Mart building. Each student team will design an original artwork to be exhibited nightly for six weeks, reaching an audience of nearly 300,000 viewers. A sequence of technical workshops supports skill development, while visiting artists, critics, and community members provide feedback throughout the creative process. The semester culminates in the public debut of student works on one of the world's largest projection canvases.	Class Number 1112	Credits 3	Department Art & Technology / Sound Practices Area of Study Costume Design, Community & Social Engagement, Art and Science Location MacLean 414
New eco-models for sustainable artworlds	4044 (001)	Giovanni Aloi	Tues 3:30 PM - 6:15 PM In Person
Description The art world is a complex ecosystem. What should one know about its geographical and ecological dimensions in order to pursue a rewarding career? The rise of identity politics, diversity, and multidisciplinarity, as well as the growing importance of collaborative practices, calls to abolish museums, and intensifying criticism of our cultural institutions' colonialist foundations, have made it more challenging than ever to navigate this rapidly changing landscape. This course deconstructs the romantic myth of the artist to foreground alternative and sustainable eco-models and systems of interdependency. Together, through the analysis of case studies borrowed from posthumanism and specualtive philosophy, we map the contradictions and paradoxes that today shape the relationship between artists, institutions, and the art market, to help practitioners of all kinds redefine their identities and reposition themselves in the contemporary art world. The course will involve a range of sources and study materials including selected clips from films, novels, classic academic readings on the artworld, and current interviews with artists, curators, and museum directors. The course will address current urgent themes like social justice, equity, accessibility, marginalization, racism/sexism, institutional critique, etc. The work is based on my new book titled 'I'm not an artist: reclaiming creativity in the age of free content that will be published by Bloomsbury in Spring 2025. Important scholarly and professional voices included will feature: Sampada Aranke, James Elkins, Mark Dion, Timothy Morton, Anna Tsing, Donna Haraway, Mandy-Suzanne Wuong, Vivien Sansour, Edgar Heap of Birds, Cannupa Hanska Luger, Pamela Sneed, Anicka Yi, Cecilia Vicuna, Okwui Enwezor, Eyal Weizman, Robin Wall Kimmerer and many more. Course work will include weekly reading responses, an essay, a report, and a presentation. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1065	Credits 3	Department Art History, Theory, and Criticism Area of Study Community & Social Engagement, Economic Inequality & Class, Museum Studies Location MacLean 920
Art, Identity, Race	4046 (001)	Eddie Chambers	Thurs 3:30 PM - 6:15 PM In Person
Description How have or how do artists engage with the complexities of visualizing racial difference, racial experience and racial identities? These are the questions to be considered in this class. As much as `race¿ can be understood as a fiction, it also manifests its presence in the visual arts. From the hundreds of European portrait painters who have painted their white patrons in the subservient company of enslaved Black people, through to the many modern and contemporary artists whose work touches on or is grounded in ideas of racial experience and representation. The class asks, what happens when race, art, and identity collide or overlap? The class will use a variety of texts, most frequently catalogue essays relating to artists such as Barbara Walker, Chris Ofili, Yinka Shonibare, Renee Cox, and Mickalene Thomas, and others whose work can be seen as representing a confluence of art, identity and race-related considerations. 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 art, identity and race-related considerations are seemingly easily applied to certain artists, but presumed to be absent from certain other artists. Students are required to submit one short `reaction¿ paper each week, plus a longer 10-12 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. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1078	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Exhibition and Curatorial Studies, Museum Studies Location MacLean 920
Art and Spatial Politics in Contemporary China	4047 (001)	Pauline J Yao	Thurs 8:30 AM - 11:15 AM In Person
Description This class surveys the development of contemporary Chinese art from the late 1970s to 2010s through the lens of space. In China, contemporary art forms such as abstract painting, video, installation, and performance have long existed in the margins, outside the mainstream system. We will examine the spatial politics of production, display and consumption of this art over several decades, tracking how art in China interacts with political spaces (state run institutions and venues), the private domain (ad-hoc and independent spaces) and finally purpose-built and commercial outlets (galleries, and museums). Studying the history and evolution of contemporary Chinese art, also referred to as `avant-garde¿ or `experimental¿ art, is to study its interactions with space, be it public or private, physical or discursive. Lectures and discussions will focus on key events such as the Stars Painting Group¿s 1979 exhibition, the ¿China/Avant-Garde¿ 1989 exhibition, and the 2000 Shanghai Biennale as well as peripheral events and select activities outside of China. Readings will include texts by Wu Hung, Peggy Wang, Rosalyn Deutsche and Miwon Kwon. Various exercises and writing assignment during the semester, in-class presentations, one research paper. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1086	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Museum Studies Location MacLean 608
How Critiques Work	4048 (001)	James Elkins	Tues 12:15 PM - 3:00 PM In Person
Description Art critiques are common around the world. Yet there is almost nothing written about them. How do they work? What are the most successful formats? How can you understand and control your critique? What happens when critiques become violent or coercive? What is the difference between criticism, criticality, critique, the crit, and Kritik? In this class we analyze your critiques in detail, and explore the ways to get the most out of your critique experiences. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2371	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Advanced Ceramics	4050 (001)	Pei-Hsuan Wang	Tues 9:00 AM - 3:00 PM In Person
Description This course offers advanced students a forum for critiques and discussion of contemporary ceramic directions. Emphasis is placed on individual development through complex integration of technology and information. Field trips and artists' studio tours provide a format for extensive dialogue. Students with a studio in the department are highly encouraged to enroll in this class. Prerequisites Must be a junior, and have completed any 2000+ Ceramics Class	Class Number 2085	Credits 3	Department Ceramics Location 280 Building Rm 003
Std Sem: Decolonizing Time Travel	4050 (001)	Joshua Rios	Mon 12:15 PM - 3:00 PM In Person
Description This course explores artistic, tactical, theoretical, cultural and pedagogical approaches to resisting Empire through the work of John Akomfrah, Black Audio Collective, #decolonizethisplace, Sky Hopinka, Tirza Even, Forensic Architecture, Rafa Esparza, Damon Locks, SuperFutures Haunt Collective and Santiago X. We will consider how artists, activists and scholars destabilize linear time, imagine queer futures and utopias by remixing hegemonic forms of social memory including archives, explore community-based knowledges and develop reparative counter-narratives. Structure: Readings, discussions, presentations, visits to Chicago archives, guest lectures, and development of pedagogical materials and/or scholarly/creative projects. Group research trips include visits to libraries and collections to meet with archivists and researchers, including the following sites: the Gerber Hardt Library for GLBTQ studies, American Indian Center, Leather Archive and Museum, Edward E. Ayers Collection of native studies at the Newberry, Vivian G. Harsch, Harold Washington Special Collections and visits to informal, uncurated collections, including flea markets. Readings may include Eve Tuck, Audra Simpson, Stuart Hall, Russell West-Pavlov, Tina Campt, Gerald Vizenor, Jose Esteban Mu?oz, Arjun Appadurai, Tananarive Due, and Saidiya Hartman. Students will engage in weekly discussions to readings, 3 written responses, conduct an independent visit to a collection and present findings. Final projects may include hybrid production: written, artistic and/or pedagogical projects, final presentation and critique. Prerequisites Prerequisite: First Year English requirement.	Class Number 2158	Credits 3	Department Visual and Critical Studies Location MacLean 617
Decolonizing Time Travel	4051 (001)	Joshua Rios	Mon 12:15 PM - 3:00 PM In Person
Description This course explores artistic, tactical, theoretical, cultural and pedagogical approaches to resisting Empire through the work of John Akomfrah, Black Audio Collective, #decolonizethisplace, Sky Hopinka, Tirza Even, Forensic Architecture, Rafa Esparza, Damon Locks, SuperFutures Haunt Collective and Santiago X. We will consider how artists, activists and scholars destabilize linear time, imagine queer futures and utopias by remixing hegemonic forms of social memory including archives, explore community-based knowledges and develop reparative counter-narratives. Structure: Readings, discussions, presentations, visits to Chicago archives, guest lectures, and development of pedagogical materials and/or scholarly/creative projects. Group research trips include visits to libraries and collections to meet with archivists and researchers, including the following sites: the Gerber Hardt Library for GLBTQ studies, American Indian Center, Leather Archive and Museum, Edward E. Ayers Collection of native studies at the Newberry, Vivian G. Harsch, Harold Washington Special Collections and visits to informal, uncurated collections, including flea markets. Readings may include Eve Tuck, Audra Simpson, Stuart Hall, Russell West-Pavlov, Tina Campt, Gerald Vizenor, Jose Esteban Mu?oz, Arjun Appadurai, Tananarive Due, and Saidiya Hartman. Students will engage with artistic, pedagogical, cultural practices and histories that work through and against formal and informal archives - recombining, remixing, and reimaging collections in order to critique hegemonic forms of social memory, offer reparative counter-narratives, and create community-based knowledge. Topics include: identity, activism, critical pedagogy, creativity as a force for social transformation, decolonial methodologies. Class structure: discussions of essays, visits to collections, guest lectures, and the development of pedagogical materials and/or scholarly-creative projects.	Class Number 2205	Credits 3	Department Art Education Area of Study Class, Race, Ethnicity, Community & Social Engagement, Exhibition and Curatorial Studies Location MacLean 617
BAD BUNNY AND BEYOND: CARIBBEAN ART	4054 (001)	Daniel Ricardo Quiles	Thurs 3:30 PM - 6:15 PM In Person
Description In recent years, the Caribbean has become its own field of inquiry in art history and contemporary art, one that correlates different post/colonial systems (British, U.S., Hispanophone, Francophone, Dutch) and cultural-philosophical traditions across the archipelago and its diaspora. This course will provide an overview of contemporary Caribbean art contextualized both by the twin histories of colonialism and decolonization in the region, as well as by an interdisciplinary perspective that demonstrates the close adjacency between visual art and theory, literature, music, dance, theater, cinema, and other forms of cultural production. This seminar will take seriously the idea that 'the Caribbean' is now a decentered and global locus of identity, with diasporas situated around the world; considerable attention will be given to Caribbean communities in the Americas, Western Europe and beyond. The course has 3 overlapping content areas, listed below with selected authors, curators and artists: 1. (Historical, Political, Economic, Theoretical) Context: Lisa Lowe, Edouard Glissant, Stuart Hall, Derek Walcott, Susan Buck-Morss, Maria Magdalena Campos-Pons, Taína Caragol, Aimé Césaire, Luis Castañeda 2. Modernity (including contemporary dynamics): Tania Bruguera, Christopher Cozier, Tumelo Mosaka, Claire Tancons, Krista Thompson, Tatiana Flores, Marina Reyes Franco, Ebony Patterson, Allora and Calzadilla, Alia Farid 3. Diaspora: Rafael Ferrer, Ana Mendieta, The Young Lords, Tony Labat, Derek Forrester, Carla Acevedo-Yates, Julien Creuzet, Yomaira C. Figueroa-Vásquez, Alex Farquharson, Miguel Luciano Assignments include assessment to track readings via notes or annotated bibliography. Final assignment is a 10-page research paper for undergraduates and a 15-20 page term paper for graduate students. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2103	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Exhibition and Curatorial Studies, Politics and Activisms Location MacLean 620
Top:Gilles Deleuze	4060 (001)	Patrick Durgin	Wed 8:30 AM - 11:15 AM In Person
Description This course offers an introduction to the thought of the French philosopher Gilles Deleuze (1925-1995). Deleuze was one of the 20th century?s most influential critical theorists: almost single-handedly revising the reputation of Nietzsche in France; critiquing psychoanalysis in its postmodern heyday; and devising new approaches to ontology, leftist political theory, and aesthetic theory. To this day, his concepts are frequently deployed in critical theory of all kinds, especially those concepts he developed in collaboration with activist and psychoanalyst Felix Guattari. This course provides an introduction to the reading of Deleuze?s work. The goal of the course is to familiarize you with the contours of his career and acquaint you with his peculiar style of writing. It also acquaints you with a few subsequent elaborations on and critiques of Deleuzian thought. We read Deleuze's book on Francis Bacon's paintings, his book on Henri Bergson, and also excerpts from A Thousand Plateaus, Logic of Sense, and What is Philosophy? We also read critical responses and elaborations of Deleuzian thought. Expect a steady, dense, and provocative reading schedule. Students complete a reading journal, a major term paper, and a collaborative presentation on intersections between contemporary art practice and Deleuze's philosophy. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2246	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 202
ReMaterials at Homan Square	4101 (001)	Odile Compagnon, Georgina Bowman	Tues 9:00 AM - 3:00 PM In Person
Description In this course we focus on a participatory placemaking project in North Lawndale where community members and student artists gain skills in natural building techniques with cob, straw-bale, willow, rammed earth, hemp, and brick. The studio works within the constraints of the local conditions to determine material specification, use, reuse, and recycling or upcycling options available for on-site construction. Co-creation activities are at the heart of the design and building process, which requires a detailed understanding of the unique capacities of the community with which the students collaborate. The studio explores the work of artists, designers and thinkers such as the ones who received the 'Global Award for Sustainable Architecture' or are part of the Design for the Common Good (DCG) coalition. Guest presenters also facilitate hands-on demonstration and workshops in alternative building materials and methods to which students and community members participate together. This includes, among others: cob construction materials and techniques, live hedges purpose and benefits, living walls and bug hotels, brick making and firing, material upcycling. Students will work collaboratively on one to three design projects involving community members. At the end of the semester they will present their material research, building prototypes, design, construction strategies, timeline and budget proposal to a group of stakeholders who will give them feedback on the feasibility of their proposal.	Class Number 1025	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Community & Social Engagement, Public Space, Site, Landscape, Sustainable Design Location Homan 1200
ReMaterials at Homan Square	4101 (001)	Odile Compagnon, Georgina Bowman	Tues 9:00 AM - 3:00 PM In Person
Description In this course we focus on a participatory placemaking project in North Lawndale where community members and student artists gain skills in natural building techniques with cob, straw-bale, willow, rammed earth, hemp, and brick. The studio works within the constraints of the local conditions to determine material specification, use, reuse, and recycling or upcycling options available for on-site construction. Co-creation activities are at the heart of the design and building process, which requires a detailed understanding of the unique capacities of the community with which the students collaborate. The studio explores the work of artists, designers and thinkers such as the ones who received the 'Global Award for Sustainable Architecture' or are part of the Design for the Common Good (DCG) coalition. Guest presenters also facilitate hands-on demonstration and workshops in alternative building materials and methods to which students and community members participate together. This includes, among others: cob construction materials and techniques, live hedges purpose and benefits, living walls and bug hotels, brick making and firing, material upcycling. Students will work collaboratively on one to three design projects involving community members. At the end of the semester they will present their material research, building prototypes, design, construction strategies, timeline and budget proposal to a group of stakeholders who will give them feedback on the feasibility of their proposal.	Class Number 1025	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Community & Social Engagement, Public Space, Site, Landscape, Sustainable Design Location Homan 1200
Social Engagement Studio	4101 (001)	Eric Allan Hotchkiss	Wed 9:00 AM - 3:00 PM In Person
Description SAIC Design @ Homan Square combines professional practice design experience with community activism. Operating out of SAIC's facility in the Nichols tower at Homan Square, the course engages students in a focused dialogue on social project implementation in Chicago and provides the tools and frameworks to realize those projects. Functioning as a pro bono 'design consultancy' where the residents, small businesses and community groups of North Lawndale act as 'clients', each job is treated as a discrete project involving research, knowledge-sharing and design action. The projects will cover a two-semester cycle, with each semester being offered as an independent class. This course, running in the Spring semester, will emphasize the last three stages of the design thinking process; ideation, prototyping, and testing. course class will focus on proposing and implementing solutions that address the contextual research carried out in the first semester. These solutions will be presented to, and critiqued by, the 'clients' who are the main stakeholders, North Lawndale community leaders, as well as SAIC faculty. Recognizing that making is a research process that reveals new problems, the reflexive activity of proposing, making, presenting and critiquing solutions generates new knowledge as well as physical outcomes. It is this collective 'new intelligence' that is the primary goal of the course. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1275	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Collaboration, Community & Social Engagement, Economic Inequality & Class Location Sullivan Center 1258
Advanced Stitch	4105 (001)	Melissa Leandro	Wed 9:00 AM - 3:00 PM In Person
Description This advanced course investigates stitching as a critical and material practice for transforming the surface, structure, and meaning of textiles and other pliable substrates. Students pursue a strong personal direction while developing technical vocabulary alongside conceptual concerns, moving across hand stitching, embroidery, needlework, beading, free motion sewing, hand and machine quilting on long arm machines, digital embroidery design and output, and fabric dyeing or dispersion methods. The course explores gesture, line, speed, slowness, process, and materiality, with emphasis on surface manipulation, scale, and the relationship between material knowledge and conceptual meaning. Emphasis is placed on independent, self-directed studio work, using technical processes as tools for inquiry rather than ends in themselves. Lectures, visiting artist talks, field trips, equipment tutorials, and readings situate student work within broader discourses around labor, domesticity, identity, materiality, and the politics of craft. Group critiques, peer reviews, and one-on-one faculty advising support individual goals while fostering dialogue about contemporary issues in the field. Coursework includes critiqued projects, technical samples, and reading responses. Prerequisites FIBER 2005 or Sophomore Level	Class Number 1395	Credits 3	Department Fiber and Material Studies Location Sharp 1014
Foundry: Advanced Projects	4113 (001)	Marshall Svendsen	Fri 9:00 AM - 3:00 PM In Person
Description Advanced students pursue individual casting projects while continuing to develop and refine casting skills. Alternative investment techniques are explored. Emphasis is placed on individual experimentation and development. Prerequisites Must have previously taken SCULP 2113 or SCULP 3115	Class Number 1731	Credits 3	Department Sculpture Location 280 Building Rm 030
Identity Systems	4121 (001)	Jacob Ristau	Mon 9:00 AM - 3:00 PM In Person
Description This is an advanced studio course focusing on developing the methodology and skill sets required to shape a comprehensive visual identity system for commercial application. Students explore various practical facets of identity development: research, communication strategy, visual form, graphic standards, and implementation, with particular emphasis on mark-making, testing and refinement. Multiple approaches to identity design are examined and explored, including static, iterative, dynamic and kinetic systems. Suggested readings and screenings vary and may include excerpts from Graphic Design, Now in Production (Blauvelt, 2011), Designing Brand Identity (Wheeler, 2013), Marks of Excellence (Mollerup, 2013), Logo Design Love (Airey, 2015), Signs and Symbols, Their Design and Meaning (Frutiger, 1978), Graphic Design/The New Basics (Lupton, 2015), and Saul Bass?s Bell System Pitch. The identity work of major branding firms, such as Pentagram, Sagmeister, and Chermayeff & Geismar & Haviv are examined as well as the work of independent, highly regarded design professionals. Students will work on a progressive sequence of assignments as a way to build skills, learning and confidence in a didactic manner, culminating in a large-scale identity system, prepared for professional grade presentation. Prerequisites Prerequisite: VISCOM 3001 and VISCOM 3011.	Class Number 1795	Credits 3	Department Visual Communication Design Location Sharp 1114
Experimental Game Lab	4136 (001)	Salvatore Cordova	Wed 8:30 AM - 11:15 AM All Online
Description As a growing, hybrid form of art, experimental video games deal and intersect with themes of politics and society, architecture, design, storytelling; they subvert common commercial tropes of popular games, and more. Students will play, analyze, and discuss a variety of recent and older games, increase their literacy with the field, and apply the ideas learned in creating their own games or interactive digital artworks. Access to a Mac or Windows computer for playing and developing games is required. Workshops will be taught for the Twine and Unity 3D (C#) game creation tools. No prior experience required. Prerequisites Prerequisite: ARTTECH 2101 or permission of instructor.	Class Number 1104	Credits 3	Department Art & Technology / Sound Practices Area of Study Animation, Game Design Location Online
Art and Technology: 1900 to Now	4152 (001)	Edward Kac	Tues 12:15 PM - 3:00 PM In Person
Description This course examines the impact of new technologies on the aesthetics of the twentieth and twenty-first centuries. Issues explored in the course include the structure of synthetic pictorial spaces, creating art in a global scale, responding to images of pure light, the aesthetics of motion, behavior in virtual environments and the experience of interactive artworks. In some cases the emphasis is on a particular new medium and the multiple artistic approaches to it; in other cases, the emphasis is on particular artists and their experimental work. Main lecture topics include: Moholy-Nagy's work, early radio and the impact of auditory images, kinetic art, robotic art, telecommunication art, computer art, digital photography, virtual reality, telepresence, holographic art, and bio art Readings include texts by featured artists and historians including Dieter Daniels, Rudolf Frieling, Philip Auslander, as well as original texts by the instructor. Course work will include weekly reading assignments, in-class discussions, a midterm research proposal, a 15-page research paper, and a final presentation. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2347	Credits 3	Department Art History, Theory, and Criticism Area of Study Interaction and Participation, Art and Science Location Online
Advanced Comics	4201 (001)	Jeremy R Tinder	Sat 10:00 AM - 4:00 PM In Person
Description This advanced studio will explore the comics form by reading and discussing contemporary works in addition to creating comics of your own. There will be a heavy focus on the processes of comics creation and self-publication. The goal is to improve your cartooning skills, help you better communicate to your chosen audience, and increase your understanding of comics as an art form. Readings and artists vary. Projects include completing work that is ready to self-publish. Please review Topic Descriptions for individual class focus. Prerequisites Pre: Student must have completed two (2) PTDW 2002 classes, or be a Graduate Student	Class Number 2153	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Narrative Location 280 Building Rm 306
Comics, Zines, & In-betweens	4201 (002)	Sara Varon	Mon 9:00 AM - 3:00 PM In Person
Description In this class, we will be making printed zines and mini-comics in small editions, using non-traditional book-making techniques. The focus of the class will be for students to consider how form can emphasize content. Projects will include making books within books, books with cut-out or pop-up elements, books with fold-out pages, books with pockets, etc. In each project, students¿ choices should help further their story or subject matter. The class will look at a number of artists who have made these kinds of books. We will start with Bruno Munari¿s picture books which use features like die cuts and translucent pages to help tell his stories. We'll also look at comics by John Pham, whose books also often include interactive elements. The class will visit the Joan Flasch Artist Book library to explore their collection of artist books. For technical instruction, we will refer to several of Esther K Smith¿s books about making books as well as the Brooklyn Educational Manual. The class will consist of 5 projects. Projects 2-4 will have required elements; the final project will be up to each student. By the end of the class, students will have a better understanding of how best to embellish their stories and ideas through form. They will also have a solid understanding of zine-making and simple bookbinding techniques. Prerequisites Pre: Student must have completed two (2) PTDW 2002 classes, or be a Graduate Student	Class Number 2154	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Narrative Location 280 Building Rm 306
Advanced Experimental 3D	4211 (001)	Marlena Novak	Tues 9:00 AM - 3:00 PM In Person
Description Within the 3D Maya software environment, we will focus on creating speculative objects and alternate worlds. Technical and conceptual skills will concentrate on inventive 3D configurations of experimental ecologies. Advanced techniques include nCloth , deformer simulations,render optimization, and an introduction to Bifrost fluids within Maya, along with advanced ZBrush modeling and texturing skills. Substance Painter is available for additional 3D texturing. At midterm students present project development examples along with a Project Schedule and an Artist Statement; students will learn to create a professional Artist Rider that will accompany their completed Final project. Engaged weekly participation in course readings and discussions along with technical exercises are required. Course content addresses the theoretical territory of the simulated environment and will address the `vibrancy¿ of 3D objects as applied to the virtual world. Imaginary environments, both external and internal, along with their inhabitants encountering each other and their worlds are among the subjects that can be invented/proposed in various and creative ways. Prerequisite: FVNM 2015 or FVNM 5025 Prerequisites Prerequisite: FVNM 2015 or FVNM 5025	Class Number 1433	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 519
Sem:Trans* Pictures	4225 (001)	Oliverio V. Rodriguez	Mon 6:45 PM - 9:30 PM In Person
Description This seminar explores the history and culture of transgender and gender non-conforming communities and identities, with a particular focus on moving image work encompassing cinema, television, and new media. Themes and approaches include transfeminist, postgenderist, and queer/trans theories which challenge essentialized notions of gender and sexuality. The course consists of weekly discussions based on screenings of moving image work, as well as critical and theoretical texts that investigate identity, embodiment, technology, and representation as they relate to trans issues. Some of the scholars and artists we will study include Susan Stryker, David Valentine, Zachary I. Nataf, C. Riley Snorton, Paul B. Preciado, Helen Hok-Sze Leung, Sam Feder, Lilly Wachowski, Chase Joynt, Tourmaline, Wu Tsang, Silas Howard, Angelo Madsen Minax, Jules Rosskam, Annalise Ophelian, Zackary Drucker. Course work will include in-class discussions, reading assignments, reading/screening response essays, a midterm critical response essay, and a final research paper. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2241	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality, Theory Location MacLean 1307
UG Sem:Art and Technology 1900 to Now	4250 (001)	Edward Kac	Tues 12:15 PM - 3:00 PM All Online
Description This course examines the impact of new technologies on the aesthetics of the twentieth and twenty-first centuries. Issues explored in the course include the structure of synthetic pictorial spaces, creating art in a global scale, responding to images of pure light, the aesthetics of motion, behavior in virtual environments and the experience of interactive artworks. In some cases the emphasis is on a particular new medium and the multiple artistic approaches to it; in other cases, the emphasis is on particular artists and their experimental work. Main lecture topics include: Moholy-Nagy's work, early radio and the impact of auditory images, kinetic art, robotic art, telecommunication art, computer art, digital photography, virtual reality, telepresence, holographic art, and bio art Readings include texts by featured artists and historians including Dieter Daniels, Rudolf Frieling, Philip Auslander, as well as original texts by the instructor. Course work will include weekly reading assignments, in-class discussions, a midterm research proposal, a 15-page research paper, and a final presentation.	Class Number 2342	Credits 3	Department Art & Technology / Sound Practices Location Online
Ukrainian Art of the 20th and 21st Century	4349 (001)	Adrienne Kochman	Tues 12:15 PM - 3:00 PM In Person
Description This course investigates artistic expressions of national consciousness, modernism, ukrainizatsia of the 1920s and the Boychukysty, primitive and decorative folk painting, non-conformism, Socialist Realism, and contemporary art. Historical, political, and socioeconomic contexts will be addressed throughout the class, as will Ukraine's relationship with other European artistic centers, and their developments. Issues related to recovered art history, colonization and artistic training; national identity and oppressed regimes; and the role of the diaspora will be included throughout. Translations of documents will be provided. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1081	Credits 3	Department Art History, Theory, and Criticism Location MacLean 608
Advanced Animation Projects	4500 (001)	Christopher Sullivan	Mon 9:00 AM - 3:00 PM In Person
Description This class is for students who have explored various animation techiques and wish to create a finished work. All animation techniques (drawing, puppets, cut-outs, CG, etc.) are welcome. Students work in an environment of highly motivated, like minded individuals, and receive regular critiques of their work-in-progress. Prerequisites Must have completed one of FVNM 3105/3423/3424/3430/CAPSTONE 4909	Class Number 1451	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 714
Better Homes and Gardens: Vernacular Art Environments	4512 (001)	Annalise Flynn	Fri 8:30 AM - 11:15 AM In Person
Description This course explores the rich genre of vernacular art environments' combinations of art, architecture and/or landscape architecture, including religious grottos, spiritual, devotional and mystical sites, gardens, ephemeral yard shows, architectural inventions, expressions of loneliness and survival, artist-built sites of conscience, homes fully transformed, artist's museums, and other created spaces that are site and life specific. The course examines historical and contemporary art environments and issues impacting art from beyond the academic mainstream and its evolving definitions, environments in their social, political and cultural contexts, home and landscape as studios, the viability and longevity of specific sites, and site preservation. Artists explored in this class include women, people of color, economically disadvantaged makers, farmers/rural dwellers, urban dwellers, and immigrants, among others. Artists' sites examined range from Sam Rodia's Watts Towers, Emery Blagdon's Healing Machine, Kea Tawana's Ark, to Ferdinand Cheval's Palais Ideal, and many more. Lectures are supported by video, audio, and a broad range of readings. Developing an awareness and appreciation for vernacular expressions in architecture, architectural cladding and ornament, garden ornament and yard shows, and other ordinary or beyond-ordinary visual arrangements in our shared, adorned environment is a subtext. Students complete readings and exploration and research projects. Add: Sign up for this class requires instructor consent and is by application to Professor Nicholas Lowe. For more details please email nlowe1@saic.edu. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1071	Credits 3	Department Art History, Theory, and Criticism Area of Study Museum Studies Location Sullivan Center 1255
Better Homes & Gardens	4512 (001)	Annalise Flynn	Fri 8:30 AM - 11:15 AM In Person
Description This course explores the rich genre of vernacular-built environments - where personal spaces like homes, studios, and gardens have been fully transformed into continually evolving, site-specific, and life-encompassing endeavours. Frequently such spaces are understood as works or art because they include strong visual and crafted elements. Such structures include mosaic-covered homes, painted mountains, found object gardens, hand-built concrete compounds, and much more. In this course, we will explore the expansive ways that those creating environments push the canonical limits of artmaking and the idea of who the artist is through their interactions with material, landscape, and community. We will examine historical and contemporary art environments within their social, political, and cultural contexts, consider the 'lives' of ephemeral sites via preservation initiatives, and discuss where these artists and their work intersect (and do not intersect) with the mainstream art world. The artists included in this class present a demographic and geographic cross-section of America (and elsewhere), and readings, lectures, and class discussion will support the development of a more inclusive understanding of artmaking and placemaking in the United States. Artists' sites examined range from Sabato Rodia's Watts Towers in Los Angeles, California to L.V. Hull's home in Kosciusko, Mississippi. Students are expected to attend in-person class, complete a variety of readings and research-based projects, and participate in class discussion. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2082	Credits 3	Department Historic Preservation Area of Study Museum Studies Location Sullivan Center 1255
The Shape of Contemporary Dress	4562 (001)	Gillion Carrara	Fri 8:30 AM - 11:15 AM In Person
Description Class content begins with the start of the youth quake of the 1960s and continues until the current day of designers? oeuvres, expanding to such arenas as video art, performance and creation of merchandise. On occasion, a select number of students will participate with an end of year presentation together with students of the Department of Fashion Design. This course is a chronological inquiry into fashion and dress and the relationship to a heritage of the visual arts, politics, literature, gender, and equality. Students will gain recognition of primary sources for analysis relating to art and dress in the Ryerson and Flaxman libraries. The SAIC Fashion Resource Center is a fully comprehensive venue as resource for any project. While individually and as a class, conversations are immediate, since surrounded by publications, garments and related materials in the F R C Study room and Wardrobe. Six assignments progress from the knowledge of history to lives and practices of global designers. Of significance is an exercise of garment examination in the F R C Wardrobe resulting in museum like documentation permitting students to learn vocabulary and accurate assessment. Emphasis is placed on students mastering the skills of writing, presenting visual arts and oral presentation. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2079	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality, Costume Design Location MacLean 608
Walk That Way	4611 (001)	Lori Waxman	Wed 12:15 PM - 3:00 PM In Person
Description Walking is the most obvious thing in the world. We all do it. In fact it is a primary way to differentiate human beings from other sentient creatures. And yet, for the past century, artists have made revolutionary, romantic and aesthetic use of this most commonplace gesture. In this class, we consider groups like the Surrealists, the Situationist International and Fluxus, all of whom walked in cities as a means of making vanguard art. We explore the flaneurs who came before them and contemporary artists like Francis Alys and Janet Cardiff, who came after. We look outside urban limits too, at Richard Long and the long history of Romantic walkers and traditional nomads that preceded him. Course work includes a midterm exam and a final paper?and maybe, just maybe, we will go on a couple of walks ourselves. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1048	Credits 3	Department Art History, Theory, and Criticism Location MacLean 608
Advanced History Of Video	4670 (001)	Bruce Jenkins	Wed 8:30 AM - 11:15 AM In Person
Description This course is designed to provide an in-depth encounter with video art from its emergence in the 1960s through its divergent pathways over the past six decades as both a form of art-making and a mode of socio-political engagement. Particular attention is paid to the role that art institutions (museums, biennials, festivals) have played in reframing that history and to the continuing impact of technological change. We focus as well on the work of non-Western artists and the theoretical lenses that highlight alternative cultural genealogies. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1050	Credits 3	Department Art History, Theory, and Criticism Location MacLean 1307
Processes in Arts Administration	4700 (001)	Lizzie Leopold	Mon 12:15 PM - 3:00 PM In Person
Description Processes in Arts Administration offers project-based engagement with timely and relevant developments in Arts Administration. Through an incubator model, students will have the opportunity to explore creative processes that take place as part of independent projects, or 'in the front of the house' and behind the scenes of arts organizations, elevating creativity in arts administration. Course work will vary and may include researching, proposing and designing curatorial projects across media, programming supporting events for multiple audiences, and designing and publishing publicity, critical, and documentation materials in conjunction with projects. Students will develop site specific projects at proposal, model, and prototype levels. Course outcomes will include presentations and documentation.	Class Number 2132	Credits 3	Department Arts Administration and Policy Area of Study Community & Social Engagement, Exhibition and Curatorial Studies, Public Space, Site, Landscape Location Lakeview - 1427
Sem:Trans* Pictures	4701 (001)	Oliverio V. Rodriguez	Mon 6:45 PM - 9:30 PM In Person
Description This seminar explores the history and culture of transgender and gender non-conforming communities and identities, with a particular focus on moving image work encompassing cinema, television, and new media. Themes and approaches include transfeminist, postgenderist, and queer/trans theories which challenge essentialized notions of gender and sexuality. The course consists of weekly discussions based on screenings of moving image work, as well as critical and theoretical texts that investigate identity, embodiment, technology, and representation as they relate to trans issues. Some of the scholars and artists we will study include Susan Stryker, David Valentine, Zachary I. Nataf, C. Riley Snorton, Paul B. Preciado, Helen Hok-Sze Leung, Sam Feder, Lilly Wachowski, Chase Joynt, Tourmaline, Wu Tsang, Silas Howard, Angelo Madsen Minax, Jules Rosskam, Annalise Ophelian, Zackary Drucker. Course work will include in-class discussions, reading assignments, reading/screening response essays, a midterm critical response essay, and a final research paper. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2250	Credits 3	Department Film, Video, New Media, and Animation Area of Study Gender and Sexuality, Theory Location MacLean 1307
Advanced History Of Video	4703 (001)	Bruce Jenkins	Wed 8:30 AM - 11:15 AM In Person
Description This course is designed to provide an in-depth encounter with video art from its emergence in the 1960s through its divergent pathways over the past six decades as both a form of art-making and a mode of socio-political engagement. Particular attention is paid to the role that art institutions (museums, biennials, festivals) have played in reframing that history and to the continuing impact of technological change. We focus as well on the work of non-Western artists and the theoretical lenses that highlight alternative cultural genealogies. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1460	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 1307
Looking for Money, Looking at Money	4800 (001)	Meg Leary	Wed 12:15 PM - 3:00 PM In Person
Description Have you ever wondered how the world of arts funding works from the inside? This class will provide an insider perspective on how private foundations, government funders, high-wealth donors, and individual philanthropists operate. Students will learn about the US philanthropic system to build an understanding of how to leverage opportunities in the pursuit of supporting creative work. We will consider the history of philanthropy, the systems that provide resources to creative individuals and projects, and investigate current trends in order to understand the systems of resource distribution and the ethical implications of these structures. This class is designed for artists, arts administrators, curators, and historians interested in understanding systems of funding.	Class Number 2130	Credits 3	Department Arts Administration and Policy Area of Study Community & Social Engagement, Exhibition and Curatorial Studies, Museum Studies Location Lakeview - 202
Whatnot Studio	4800 (001)	Gionata Gatto	Wed 9:00 AM - 3:00 PM In Person
Description Whatnot Studio is a year-long advanced studio in which students design, produce, and publicly present a collection for Whatnot, the school¿s in-house product brand. The course is structured around a complete design cycle, moving from concept development through small-batch production to a fully realized retail and exhibition environment. Working from an annual theme, students develop individual products that contribute to a cohesive collection. Emphasis is placed on translating ideas into producible designs, with attention to material decisions, fabrication methods, and the constraints of small-batch manufacturing. Unlike most undergraduate studios, the course extends through production, requiring students to fabricate a pilot run of their work rather than a single prototype. In parallel, students collaborate to define the identity of the collection and design a branded retail installation to showcase the work. This includes spatial design, display systems, and communication strategies that position the collection for a public audience. The studio culminates in a major external presentation, with the collection exhibited at a leading design fair or trade show. Throughout the year, students develop an individual design voice while working collectively to produce a unified, high-quality outcome. The course emphasizes design as both authorship and collaboration, and as a process that extends beyond form-making to include production, context, and audience. Enrollment is by portfolio review and is open to advanced undergraduate and graduate students. Please submit a portfolio of work by the end of day on Monday, April 27 to this link: https://airtable.com/app10LexPLHEqM7mV/pagcVlilryi7Xn4Or/form Accepted students will then be enrolled in the course. For more information, contact Jim TerMeer (jterme@saic.edu) or Gionata Gatto (ggatt@saic.edu). This course is best taken in the final year of study, once students have developed confidence in their design process and are ready to carry a project through to production and public presentation.	Class Number 1274	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1230
Pop Culture Theory: Adorno 'Culture Industry'/Art as Social Experience	4804 (001)	Christopher Cutrone	Mon 12:15 PM - 3:00 PM In Person
Description Adorno is well known for his scathing critique of 'culture industry.' But what is usually missed is that Adorno's critique of 20th Century cultural forms was dialectical, concerned with their potential for both emancipation and domination, and was aimed equally at modern practices of 'hermetic' art as well as those of 'popular' culture, anticipating issues in 'post'-modernist cultural criticism. In this course we address the Frankfurt School critical theory of experience and aesthetic subjectivity in modern social life in context, reading works by Benjamin, Kracauer and Marcuse, and then focusing on works by Adorno in considering the analytical and explanatory as well as critical power of certain enduring if problematic and contested categories such as 'commodification' and 'democratization' for a dialectic of modern forms of art and culture as forms of social subjectivity. Course assignments include in-class team presentations on the readings, a midterm paper and a final paper. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1036	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics Location MacLean 608
AIC:Impression/Post-Impression	4873 (001)	Margaret MacNamidhe	Mon 12:15 PM - 3:00 PM In Person
Description Incorporating daily visits to the Art Institute of Chicago, this undergraduate seminar examines the history of European and American art from the 1860s through the early twentieth century through the focused engagement with objects in the museum collections. Class time is divided between classroom lectures, discussions of daily reading assignments, and museum visits. In all of these, students are expected to take an active participatory role. Course topics are determined in relation to the collections on view, but recurring questions focus on materiality and display. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1041	Credits 3	Department Art History, Theory, and Criticism Location MacLean 620
Contemporary Cartography	4887 (001)	Rhoda Rosen	Fri 3:30 PM - 6:15 PM In Person
Description Maps feature significantly in contemporary artistic practice as both subject and method. In contemporary art, they often serve as a device that resists fixed borders, both national and personal. As contemporary artists collapse the idea that the map is the territory, so too do they make a radical break with the seemingly permanent boundaries of nationality, race and gender and their ideological institutions. A variety of topics such as nationalism, migration, and the use of surveillance technology in art will be explored primarily through readings, art, film screenings, and conversations. Artists include, for example, Francis Alys, Libia Posada, Bouchra Khalili, Harun Farocki and more. Students should expect weekly readings, in-class assignments, and the completion of a final essay Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 1051	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics Location MacLean 608
ARTHI: Senior Thesis II	4901 (001)	Daniel Ricardo Quiles	Mon 12:15 PM - 3:00 PM In Person
Description This class is the second component of a two-semester class that equips senior students earning a BAAH or a BFA with Art History Thesis with the skills to develop an advanced art historical research project, in this case: the senior thesis. It provides writers working on independent research projects with structure, guidance, constructive criticism, and a supportive peer community for discussion of their work in progress. Writers meet regularly with the instructor and their classmates to develop their ideas, address problems, and steer their projects to completion. The course combines individual mentoring of students as they engage in the sustained research and writing of a capstone project, with exposing students to a range of art historical professions and coaching students to prepare for careers in art history. The focus of this development from students to professionals, is both on the ethics of professional conduct in the field of art history as well as the content of various art historical careers. To this end, students will research, prepare, and submit one career-related written proposal, such as graduate school application, residency application, conference presentation proposal, publication submission or other. Prerequisites ARTHI 4899 & professional practice course	Class Number 1136	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1428
AIA: Capstone Studio	4902 (001)	Carl Ray Miller	Mon/Thurs 9:00 AM - 3:00 PM In Person
Description This 6-credit (two day) design studio is an opportunity for summative, integrated undergraduate work in architecture. Teaching leads students through theoretical and historical precedent, site and program analysis, to a design proposal that addresses contemporary issues in the built environment with a focus on architecture and how it serves the public. Students are expected to produce comprehensive design proposals that express and embody conceptual positions. Students are expected to respond to topical briefs put forward by their teacher that incorporate knowledge from areas of architectural practice such as preservation, interior design, or urbanism; and that respond to specific, contemporary challenges and opportunities in the built environment such as sustainability, public space, or the impacts of advanced technology. Class work includes precedent studies and site analysis, site visits, and preparation and presentation of a design proposal. At the conclusion of the semester, students participate in the Studio Show, an exhibition of capstone work organized by faculty and students in the department's gallery. Studnets and faculty participate as critics in concluding events the Department's Architecture Studios as part of their coursework. This course requires 12 credits of Architecture Studio: Practice to register. 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. Prerequisites Student must have completed 12 credits of PROFPRAC 3902	Class Number 1135	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Area of Study Architecture, Interior Architecture, Sustainable Design Location Sullivan Center 1407
ARTED: Apprentice Teaching	4903 (001)	Arturo Barrera	Tues 3:30 PM - 6:15 PM In Person
Description The Apprentice Teaching course continues learning experiences begun during practicum placements in the fall semester. This course provides licensure candidates with experience investigating significant, contemporary concepts and themes within a contemporary art and design context in elementary and secondary Chicago-area schools. Apprentice teachers will complete a 7-week elementary/middle school placement and a 7-week high school placement as well as attend a weekly apprentice teaching seminar at SAIC. Apprentice Teachers will be challenged to maintain high ideals of creative, critical, and relevant curriculum as they engage the complex realities of public school teaching. Students will read a selection of texts that ground curricular theory within teaching practice. This will assist them in learning how to translate their curriculum development knowledge into pedagogy. Apprentice teachers will plan, teach, assess their students¿ work, and evaluate the effectiveness of their lessons and teaching strategies. Apprentice Teachers will teach a culminating curriculum project, video-record their instruction of this project, and submit these videos along with written analysis to the nationally standardized, Illinois State Board of Education-mandated edTPA assessment. Prerequisites Prerequisite: ARTED 4390 and completion of the Transition Points as listed in the BFAAE Program Guide	Class Number 2067	Credits 12	Department Art Education Area of Study Art/Design and Politics, Community & Social Engagement, Teaching Location Sharp 402
ARTED: Apprentice Teaching	4903 (002)	Catalina Hernández-Cabal	Tues 3:30 PM - 6:15 PM In Person
Description The Apprentice Teaching course continues learning experiences begun during practicum placements in the fall semester. This course provides licensure candidates with experience investigating significant, contemporary concepts and themes within a contemporary art and design context in elementary and secondary Chicago-area schools. Apprentice teachers will complete a 7-week elementary/middle school placement and a 7-week high school placement as well as attend a weekly apprentice teaching seminar at SAIC. Apprentice Teachers will be challenged to maintain high ideals of creative, critical, and relevant curriculum as they engage the complex realities of public school teaching. Students will read a selection of texts that ground curricular theory within teaching practice. This will assist them in learning how to translate their curriculum development knowledge into pedagogy. Apprentice teachers will plan, teach, assess their students¿ work, and evaluate the effectiveness of their lessons and teaching strategies. Apprentice Teachers will teach a culminating curriculum project, video-record their instruction of this project, and submit these videos along with written analysis to the nationally standardized, Illinois State Board of Education-mandated edTPA assessment. Prerequisites Prerequisite: ARTED 4390 and completion of the Transition Points as listed in the BFAAE Program Guide	Class Number 2068	Credits 12	Department Art Education Area of Study Art/Design and Politics, Community & Social Engagement, Teaching Location Sharp 706
ARTED: Apprentice Teaching	4903 (003)	Juarez Hawkins	Tues 3:30 PM - 6:15 PM In Person
Description The Apprentice Teaching course continues learning experiences begun during practicum placements in the fall semester. This course provides licensure candidates with experience investigating significant, contemporary concepts and themes within a contemporary art and design context in elementary and secondary Chicago-area schools. Apprentice teachers will complete a 7-week elementary/middle school placement and a 7-week high school placement as well as attend a weekly apprentice teaching seminar at SAIC. Apprentice Teachers will be challenged to maintain high ideals of creative, critical, and relevant curriculum as they engage the complex realities of public school teaching. Students will read a selection of texts that ground curricular theory within teaching practice. This will assist them in learning how to translate their curriculum development knowledge into pedagogy. Apprentice teachers will plan, teach, assess their students¿ work, and evaluate the effectiveness of their lessons and teaching strategies. Apprentice Teachers will teach a culminating curriculum project, video-record their instruction of this project, and submit these videos along with written analysis to the nationally standardized, Illinois State Board of Education-mandated edTPA assessment. Prerequisites Prerequisite: ARTED 4390 and completion of the Transition Points as listed in the BFAAE Program Guide	Class Number 2069	Credits 12	Department Art Education Area of Study Art/Design and Politics, Community & Social Engagement, Teaching Location MacLean 919
ARTED: Apprentice Teaching	4903 (004)	Andres Luis Hernandez	Tues 3:30 PM - 6:15 PM In Person
Description The Apprentice Teaching course continues learning experiences begun during practicum placements in the fall semester. This course provides licensure candidates with experience investigating significant, contemporary concepts and themes within a contemporary art and design context in elementary and secondary Chicago-area schools. Apprentice teachers will complete a 7-week elementary/middle school placement and a 7-week high school placement as well as attend a weekly apprentice teaching seminar at SAIC. Apprentice Teachers will be challenged to maintain high ideals of creative, critical, and relevant curriculum as they engage the complex realities of public school teaching. Students will read a selection of texts that ground curricular theory within teaching practice. This will assist them in learning how to translate their curriculum development knowledge into pedagogy. Apprentice teachers will plan, teach, assess their students¿ work, and evaluate the effectiveness of their lessons and teaching strategies. Apprentice Teachers will teach a culminating curriculum project, video-record their instruction of this project, and submit these videos along with written analysis to the nationally standardized, Illinois State Board of Education-mandated edTPA assessment. Prerequisites Prerequisite: ARTED 4390 and completion of the Transition Points as listed in the BFAAE Program Guide	Class Number 2070	Credits 12	Department Art Education Area of Study Art/Design and Politics, Community & Social Engagement, Teaching Location Lakeview - 1004
ARTED: Apprentice Teaching	4903 (005)	Mark Alcazar Diaz	Tues 3:30 PM - 6:15 PM In Person
Description The Apprentice Teaching course continues learning experiences begun during practicum placements in the fall semester. This course provides licensure candidates with experience investigating significant, contemporary concepts and themes within a contemporary art and design context in elementary and secondary Chicago-area schools. Apprentice teachers will complete a 7-week elementary/middle school placement and a 7-week high school placement as well as attend a weekly apprentice teaching seminar at SAIC. Apprentice Teachers will be challenged to maintain high ideals of creative, critical, and relevant curriculum as they engage the complex realities of public school teaching. Students will read a selection of texts that ground curricular theory within teaching practice. This will assist them in learning how to translate their curriculum development knowledge into pedagogy. Apprentice teachers will plan, teach, assess their students¿ work, and evaluate the effectiveness of their lessons and teaching strategies. Apprentice Teachers will teach a culminating curriculum project, video-record their instruction of this project, and submit these videos along with written analysis to the nationally standardized, Illinois State Board of Education-mandated edTPA assessment. Prerequisites Prerequisite: ARTED 4390 and completion of the Transition Points as listed in the BFAAE Program Guide	Class Number 2071	Credits 12	Department Art Education Area of Study Art/Design and Politics, Community & Social Engagement, Teaching Location MacLean 501
ARTED: Apprentice Teaching	4903 (006)	Alana Ferguson	Tues 3:30 PM - 6:15 PM In Person
Description The Apprentice Teaching course continues learning experiences begun during practicum placements in the fall semester. This course provides licensure candidates with experience investigating significant, contemporary concepts and themes within a contemporary art and design context in elementary and secondary Chicago-area schools. Apprentice teachers will complete a 7-week elementary/middle school placement and a 7-week high school placement as well as attend a weekly apprentice teaching seminar at SAIC. Apprentice Teachers will be challenged to maintain high ideals of creative, critical, and relevant curriculum as they engage the complex realities of public school teaching. Students will read a selection of texts that ground curricular theory within teaching practice. This will assist them in learning how to translate their curriculum development knowledge into pedagogy. Apprentice teachers will plan, teach, assess their students¿ work, and evaluate the effectiveness of their lessons and teaching strategies. Apprentice Teachers will teach a culminating curriculum project, video-record their instruction of this project, and submit these videos along with written analysis to the nationally standardized, Illinois State Board of Education-mandated edTPA assessment. Prerequisites Prerequisite: ARTED 4390 and completion of the Transition Points as listed in the BFAAE Program Guide	Class Number 2072	Credits 12	Department Art Education Area of Study Art/Design and Politics, Community & Social Engagement, Teaching Location Lakeview - 206
ARTED: Apprentice Teaching	4903 (007)	S. Bailey Jacobson	Tues 3:30 PM - 6:15 PM In Person
Description The Apprentice Teaching course continues learning experiences begun during practicum placements in the fall semester. This course provides licensure candidates with experience investigating significant, contemporary concepts and themes within a contemporary art and design context in elementary and secondary Chicago-area schools. Apprentice teachers will complete a 7-week elementary/middle school placement and a 7-week high school placement as well as attend a weekly apprentice teaching seminar at SAIC. Apprentice Teachers will be challenged to maintain high ideals of creative, critical, and relevant curriculum as they engage the complex realities of public school teaching. Students will read a selection of texts that ground curricular theory within teaching practice. This will assist them in learning how to translate their curriculum development knowledge into pedagogy. Apprentice teachers will plan, teach, assess their students¿ work, and evaluate the effectiveness of their lessons and teaching strategies. Apprentice Teachers will teach a culminating curriculum project, video-record their instruction of this project, and submit these videos along with written analysis to the nationally standardized, Illinois State Board of Education-mandated edTPA assessment. Prerequisites Prerequisite: ARTED 4390 and completion of the Transition Points as listed in the BFAAE Program Guide	Class Number 2099	Credits 12	Department Art Education Area of Study Art/Design and Politics, Community & Social Engagement, Teaching Location MacLean 301
CER: Ceramics Senior Critique Studio	4905 (001)	Marie Herwald Hermann	Thurs 9:00 AM - 3:00 PM In Person
Description This course is a forum for in-depth critiques, technical, conceptual, and professional practice discussions based on the student's practice and research. The goal of this class is to provide students information and guidance on how they can continue with their art practice after school. Each student enrolled in the course will be assigned a studio space within the department. The course is open to Seniors only who have previously taken 9 credit hours of Ceramics classes, 2000-level and above. Students signing up for this class must also be enrolled in any 3 credit hour Ceramics class, 2000-level and above. Seniors may enroll in this course for two consecutive semesters only. The format for this course is primary individual and group meetings, readings, presentations, field trips, exhibitions, and group critiques. Additionally, we will have a discussion with guest artists speaking about their work and the technicalities of how to continue with their art practice. Students will learn how to document, install, and promote their work. It is expected of the students to self-direct their own project culminating with a final exhibition project as part of their BFA or Gallery 1922. This course requires instructor consent. Fill out the form found at this link, https://tinyurl.com/35b26s78, to submit your portfolio and list of ceramics classes taken in the ceramics department. Prerequisites Prerequisite: Professional practice course	Class Number 1142	Credits 3	Department Ceramics Location 280 Building Rm 109
FASH: Advanced Fashion Studio 2	4906 (001)	Pamela Vanderlinde, Edgar X. Aguilera	Tues/Thurs, Tues/Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Advanced Fashion Studio 2 This two-day (6 credit hour) course aims to help students achieve a high level of professionalism through the design and development of collections that both emphasize and generate a personal style and a fashion direction. Building on the fall semester, students will plan and execute an editorial photoshoot of one look concurrent to the completion of a collection of garments to be shown during the spring fashion runway show. Pre-req FASH 4001. Prerequisites Student must complete PROFPRAC 3916 & FASH 4001 prior to enrollment	Class Number 1153	Credits 6	Department Fashion Design Location Sullivan Center 705, Sullivan Center 706
FASH: Advanced Fashion Studio 2	4906 (001)	Pamela Vanderlinde, Edgar X. Aguilera	Tues/Thurs, Tues/Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Advanced Fashion Studio 2 This two-day (6 credit hour) course aims to help students achieve a high level of professionalism through the design and development of collections that both emphasize and generate a personal style and a fashion direction. Building on the fall semester, students will plan and execute an editorial photoshoot of one look concurrent to the completion of a collection of garments to be shown during the spring fashion runway show. Pre-req FASH 4001. Prerequisites Student must complete PROFPRAC 3916 & FASH 4001 prior to enrollment	Class Number 1153	Credits 6	Department Fashion Design Location Sullivan Center 705, Sullivan Center 706
FIBER: Adv Fiber & Mat Studies Studio	4908 (001)	L Vinebaum, Nia Easley	Tues/Thurs 9:00 AM - 3:00 PM In Person
Description This course provides an interdisciplinary forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. This is a team-taught class and will utilize both instructors for critiques and group activities. Emphasis is on individual studio practice and the development of a more cohesive body of work within a faculty mentorship and peer-to-peer learning structure. Technical and conceptual input will be provided on a tutorial basis. Group discussions, readings, field trips to current exhibitions, and visiting lecturers augment this class. Professional practices will focus on the creation and display of discrete objects and/or installation work for the BFA Exhibition, supported by developing or refining a professional resume and an artist statement. Documentation of individual work for inclusion on the Fiber & Material Studies web page is also required. The print, dye, sewing, and mixed media facilities of the department are available to enrolled students to use. This class is for a minimum of 6 credit hours and is held weekly over a two-day period on Tuesdays and Thursdays. Open to Juniors and Seniors with instructor permission and signature. Course work varies but typically includes the production of major studio projects for critique, student presentations, professional development assignments, documentation of work, and the installation of work in the class display case and an open studio event. Prerequisites Prerequisite: Professional practice course	Class Number 1154	Credits 6	Department Fiber and Material Studies Location Sharp 1001
FIBER: Adv Fiber & Mat Studies Studio	4908 (001)	L Vinebaum, Nia Easley	Tues/Thurs 9:00 AM - 3:00 PM In Person
Description This course provides an interdisciplinary forum for in-depth critiques and exploration of students' individual directions within the context of contemporary art. This is a team-taught class and will utilize both instructors for critiques and group activities. Emphasis is on individual studio practice and the development of a more cohesive body of work within a faculty mentorship and peer-to-peer learning structure. Technical and conceptual input will be provided on a tutorial basis. Group discussions, readings, field trips to current exhibitions, and visiting lecturers augment this class. Professional practices will focus on the creation and display of discrete objects and/or installation work for the BFA Exhibition, supported by developing or refining a professional resume and an artist statement. Documentation of individual work for inclusion on the Fiber & Material Studies web page is also required. The print, dye, sewing, and mixed media facilities of the department are available to enrolled students to use. This class is for a minimum of 6 credit hours and is held weekly over a two-day period on Tuesdays and Thursdays. Open to Juniors and Seniors with instructor permission and signature. Course work varies but typically includes the production of major studio projects for critique, student presentations, professional development assignments, documentation of work, and the installation of work in the class display case and an open studio event. Prerequisites Prerequisite: Professional practice course	Class Number 1154	Credits 6	Department Fiber and Material Studies Location Sharp 1001
FVNM: Senior Film/Video Projects	4910 (001)	Melika Bass	Thurs 9:00 AM - 3:00 PM In Person
Description This senior Capstone course is designed for students who made a serious commitment to film and video as a major part of their art practice and who wish to focus on the completion of a moving image project for public presentation. Students will be asked to document their practice and develop a realistic plan for the exhibition of their work. The structure of the class consists of periodic workshops, regular critiques of student works as well as individual meetings. Additionally, students will be exposed to diverse examples of contemporary moving image works and will participate in discussions of relevant critical topics. Students should be both self-directed and interested in developing a support system for producing each other's work. Prerequisites Prerequisite: Professional practice course	Class Number 1155	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 518
Showing Art: From the Museum to the Global Art Circuit	4910 (001)	Romi N Crawford	Thurs 12:15 PM - 3:00 PM All Online
Description As the artist-conceived exhibition joins forces with the multi-venue blockbuster and the annual rhythm of art fair, biennial, and seasonal preview, ever-new forms of presenting art are being introduced. This seminar seeks to discuss the relationship between shown objects, artists, and institutions in historical perspective through theoretical texts and discussion. Prerequisites Prerequisite: Art History Survey Requirement OR Graduate Student	Class Number 2376	Credits 3	Department Art History, Theory, and Criticism Location Online
FVNM: Senior Film/Video Projects	4910 (002)	Paige Taul	Fri 9:00 AM - 3:00 PM In Person
Description This senior Capstone course is designed for students who made a serious commitment to film and video as a major part of their art practice and who wish to focus on the completion of a moving image project for public presentation. Students will be asked to document their practice and develop a realistic plan for the exhibition of their work. The structure of the class consists of periodic workshops, regular critiques of student works as well as individual meetings. Additionally, students will be exposed to diverse examples of contemporary moving image works and will participate in discussions of relevant critical topics. Students should be both self-directed and interested in developing a support system for producing each other's work. Prerequisites Prerequisite: Professional practice course	Class Number 2263	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 1408
LIBARTS: UG Thesis: Research/Writing II	4911 (001)	Kristi Ann McGuire	Wed 12:15 PM - 3:00 PM In Person
Description This course is a continuation of Undergraduate Thesis: Research and Writing. Students continue to work on the drafts developed during the first semester and meet at times as a group and at times individually with the instructor. By the end of the semester, each student has a 25-30 paged superbly written paper, which will most likely (although it is not required) has visual content. Students also are encouraged to develop their essays for the publication Research Writing and Culture, which is released annually by the Liberal Arts Department, the Visual and Critical Studies Program, and the Office of Publications and Graphic Design Services. Students who elect to participate in the publication learn the final stages of publishing; checking sources, seeking copyright permissions, and developing the images for publication. Class meetings are used to discuss readings, share research methods and techniques, discuss research and writing problems and ideas for critique. Guest speakers and group visits to university libraries, bookstores, and writers' readings are also part of the class. Students are required to attend all meetings. Prerequisites LIBARTS 4800	Class Number 1156	Credits 3	Department Liberal Arts Location Sharp 706
PHOTO: Senior Studio Seminar	4913 (001)	Jonas Becker	Tues 9:00 AM - 3:00 PM In Person
Description This interdisciplinary capstone, with an emphasis on contemporary photography and visual culture, is structured as an intensive critique and mentoring class focused on the development and presentation of culminating work at the end of the BFA and the continued progression of studio work beyond the BFA exhibition. The course supports the production of self-initiated work, a successful BFA show and a road map for a sustainable art practice after graduation. Preparations for the BFA exhibition include workshopping project proposals, budgets, production schedules, the development of new work and an array of possible final presentation forms. Readings, screenings and discussions will examine useful models of participation in cultural production and a critical framework for analyzing a range of platforms to share work online, in print and exhibition. Studio visits will provide insight into the day-to-day life of artists at various stages in their career ranging from current SAIC grad students to working professionals. Online and printed portfolios utilizing an ever-evolving archive of work will be refined along with professional supporting materials such as statements, CVs and artist talks necessary for a professional practice beyond graduation. Prerequisites Prerequisite: Professional practice course	Class Number 1141	Credits 3	Department Photography Area of Study Books and Publishing, Social Media and the Web Location 280 Building Rm 214
PRINT: Advanced Printmaking	4914 (001)	Peter Power, Anna Laure Kielman	Thurs, Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This course facilitates students who have progressed beyond the advanced 3000 level classes offered by the Department of Printmedia. Students are expected to be self-motivated and capable of working in an interdisciplinary and mature fashion. This course requires instructor consent. Please do not email the instructor directly. Instead, fill out the form found at this link, https://tinyurl.com/3mhcmx54, to submit your portfolio and list of Printmedia classes taken in the Printmedia department.	Class Number 1145	Credits 3	Department Printmedia Location 280 Building Rm 221, 280 Building Rm 222, 280 Building Rm 223
PRINT: Advanced Printmaking	4914 (001)	Peter Power, Anna Laure Kielman	Thurs, Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This course facilitates students who have progressed beyond the advanced 3000 level classes offered by the Department of Printmedia. Students are expected to be self-motivated and capable of working in an interdisciplinary and mature fashion. This course requires instructor consent. Please do not email the instructor directly. Instead, fill out the form found at this link, https://tinyurl.com/3mhcmx54, to submit your portfolio and list of Printmedia classes taken in the Printmedia department.	Class Number 1145	Credits 3	Department Printmedia Location 280 Building Rm 221, 280 Building Rm 222, 280 Building Rm 223
PRINT: Studio Practice: Printmedia	4915 (001)	Ayanah Moor	Tues 9:00 AM - 3:00 PM In Person
Description Designed for advanced-level Printmedia students, this course centers the studio as a site for physical and conceptual production. A combination of independent work time, individual meetings, group critiques and assigned prompts form the bulk of course programming. Students are expected to set personal goals informed by dialogue with course faculty and studio peers. Attention will be paid to independent practices and/or professional strategies beyond school. The course supports student production of a focused body of creative work. Students accepted into this section will be given an undergraduate studio in the 280 Building. Please note that during class time, students in this section don't have access to any print facilities other than their studio space. Participation in group discussions and active engagement in class critiques is essential. Students are required to contribute to critical discussions around their own work as well as to discussions relating the work of their peers. The assignments intend to develop critical thinking skills related to individual ongoing projects. They also intend to aid in developing the ability to articulate ones' artistic motivations, be self-critical, and take risks in creating new work. The final critique will take into account these factors. This course requires instructor consent. Please do not email the instructor directly. Instead, fill out the form found at this link, https://tinyurl.com/mr7krnmz, to submit your portfolio and application before the deadline. Prerequisites Prerequisite: Professional practice course	Class Number 1162	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 203
PTDW: Comics: Publish or Perish	4916 (001)	Marnie Galloway	Thurs 9:00 AM - 3:00 PM In Person
Description With an emphasis on production, this comics course focuses on developing and critiquing a culminating body of work that will be created from idea to completed printed publication. Students' work will be formatted, discussed, and placed in the context of their post-SAIC life and careers. This may include a variety of methods such as ashcans, pitches, conventions, tabling, anthologies, minicomics, and/or long form narratives. Experience in comics or illustration is highly recommended. Readings will supplement this course and provide context and expectations for producing high caliber work paralleled with managing a studio practice and your health. Selections will vary but typically include Growing Gills by Jessica Abel, Draw Stronger by Kriota Wilberg, Asterios Polyp by David Mazzuchelli, and How to Not Always Be Working by Marlee Grace Students will spend the semester creating a culminating body of work for publication as well as documenting their process throughout development and evolution. Prerequisites Prerequisite: Professional practice course	Class Number 1143	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location 280 Building Rm 306
PTDW: Comics: Publish or Perish	4916 (002)	Jeremy R Tinder	Fri 9:00 AM - 3:00 PM In Person
Description With an emphasis on production, this comics course focuses on developing and critiquing a culminating body of work that will be created from idea to completed printed publication. Students' work will be formatted, discussed, and placed in the context of their post-SAIC life and careers. This may include a variety of methods such as ashcans, pitches, conventions, tabling, anthologies, minicomics, and/or long form narratives. Experience in comics or illustration is highly recommended. Readings will supplement this course and provide context and expectations for producing high caliber work paralleled with managing a studio practice and your health. Selections will vary but typically include Growing Gills by Jessica Abel, Draw Stronger by Kriota Wilberg, Asterios Polyp by David Mazzuchelli, and How to Not Always Be Working by Marlee Grace Students will spend the semester creating a culminating body of work for publication as well as documenting their process throughout development and evolution. Prerequisites Prerequisite: Professional practice course	Class Number 2155	Credits 3	Department Painting and Drawing Area of Study Books and Publishing, Comics and Graphic Novels, Illustration Location 280 Building Rm 120
PTDW: Senior Advanced Painting	4917 (001)	Rachel Niffenegger, Scott Reeder, Arnold Kemp	Mon, Tues, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials. Prerequisites Prerequisite: Professional practice course	Class Number 1157	Credits 9	Department Painting and Drawing Location MacLean Center 11th Floor, MacLean Center 11th Floor, MacLean Center 11th Floor
PTDW: Senior Advanced Painting	4917 (001)	Rachel Niffenegger, Scott Reeder, Arnold Kemp	Mon, Tues, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials. Prerequisites Prerequisite: Professional practice course	Class Number 1157	Credits 9	Department Painting and Drawing Location MacLean Center 11th Floor, MacLean Center 11th Floor, MacLean Center 11th Floor
PTDW: Senior Advanced Painting	4917 (001)	Rachel Niffenegger, Scott Reeder, Arnold Kemp	Mon, Tues, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials. Prerequisites Prerequisite: Professional practice course	Class Number 1157	Credits 9	Department Painting and Drawing Location MacLean Center 11th Floor, MacLean Center 11th Floor, MacLean Center 11th Floor
Visual Language	4918 (001)	Gaylen Gerber	Thurs 8:30 AM - 11:15 AM All Online
Description This critique-based class addresses a wide range of issues as they arise through the direct experience of the students? work. Emphasis is given to the correlation between the declared artistic intent of each student and the reception of those intentions as they are embodied in the artwork. Special attention is paid to clarifying how students? work may be described, contextualized, and documented with the goal of developing a shared critical framework for evaluating a range of different disciplines and approaches that gives students a solid basis to proceed from effectively after graduation. Prerequisites Prerequisite: Professional practice course	Class Number 1144	Credits 3	Department Painting and Drawing Area of Study Community & Social Engagement, Exhibition and Curatorial Studies Location Online
PTDW: Senior Capstone	4918 (002)	Noelle Africh	Tues 12:15 PM - 3:00 PM In Person
Prerequisites Prerequisite: Professional practice course	Class Number 1164	Credits 3	Department Painting and Drawing Area of Study Community & Social Engagement, Exhibition and Curatorial Studies Location 280 Building Rm 120
PTDW: Senior Capstone	4918 (003)	Rush Baker IV	Wed 12:15 PM - 3:00 PM In Person
Prerequisites Prerequisite: Professional practice course	Class Number 1165	Credits 3	Department Painting and Drawing Area of Study Community & Social Engagement, Exhibition and Curatorial Studies Location 280 Building Rm 120
UGRD: Senior Critique Seminar	4920 (003)	Peter Jorge Fagundo	Wed 8:30 AM - 11:15 AM In Person
Description This interdisciplinary critique seminar is designed to help students recognize patterns of inquiry within their studio work while proceeding toward an outward-facing practice beyond graduation. An assessment of previous projects will be the starting point for an ongoing critical examination of your creative practice, through which you will be asked to contextualize and position your work in the art-worlds of the 21st Century. This course is a forum for in-depth individual and group critiques with technical and conceptual discussions tailored to your practice and research. In addition to various readings, screenings, and field trips, class visits by local artists and curators will provide the opportunity for conversation about the lived experience of sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a focused, self-initiated Senior Project, a strong portfolio, and the tools for maintaining an independent studio practice. Prerequisites Prerequisite: Professional practice course	Class Number 1147	Credits 3	Department Undergraduate Studies Location Sharp 409
UGRD: Senior Critique Seminar	4920 (005)	Benjamin Melamed Pearson	Mon 12:15 PM - 3:00 PM In Person
Description This interdisciplinary critique seminar is designed to help students recognize patterns of inquiry within their studio work while proceeding toward an outward-facing practice beyond graduation. An assessment of previous projects will be the starting point for an ongoing critical examination of your creative practice, through which you will be asked to contextualize and position your work in the art-worlds of the 21st Century. This course is a forum for in-depth individual and group critiques with technical and conceptual discussions tailored to your practice and research. In addition to various readings, screenings, and field trips, class visits by local artists and curators will provide the opportunity for conversation about the lived experience of sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a focused, self-initiated Senior Project, a strong portfolio, and the tools for maintaining an independent studio practice. Prerequisites Prerequisite: Professional practice course	Class Number 1151	Credits 3	Department Undergraduate Studies Location Sharp 402
UGRD: Senior Critique Seminar	4920 (006)	Jill M. Lanza	Thurs 3:30 PM - 6:15 PM All Online
Description This interdisciplinary critique seminar is designed to help students recognize patterns of inquiry within their studio work while proceeding toward an outward-facing practice beyond graduation. An assessment of previous projects will be the starting point for an ongoing critical examination of your creative practice, through which you will be asked to contextualize and position your work in the art-worlds of the 21st Century. This course is a forum for in-depth individual and group critiques with technical and conceptual discussions tailored to your practice and research. In addition to various readings, screenings, and field trips, class visits by local artists and curators will provide the opportunity for conversation about the lived experience of sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a focused, self-initiated Senior Project, a strong portfolio, and the tools for maintaining an independent studio practice. Prerequisites Prerequisite: Professional practice course	Class Number 2170	Credits 3	Department Undergraduate Studies Location Online
Advanced Scientific Illustration	4921 (001)	Jennifer Lobo, Donald Pollack	Mon 9:00 AM - 3:00 PM In Person
Description This course will allow students to further explore the immense world of scientific illustration, from the historical to the contemporary, and how it can enhance communication within design structures-including publication, mapping, and other forms of visual narrative-in the museum context. Classes will meet at the Field Museum of Natural History, where both the public and private research collections of Botany, Invertebrate, Mammology, Mycology, Ornithology, and Zoology will be utilized. As part of our inquiry, we will study and discuss the work of historical scientific illustrators such as Ernst Haeckel, Genevieve Jones, and Maria Sybilla Merian, which will be further complemented with a visit to the Field Museum's Marie Louise Rosenthal Library's Rare Book Room, housing an extensive collection of scientific illustration material dating back to the 15th Century. Furthermore, we will explore contemporary artists working at the intersection of science, illustration, and design, like Mark Dion, Nicholas Feltron, William Kentridge, Zachgari Logan,Greg Oakley, Alice Tangerini, along with other members of the American Society of Botanical Artists (ASBA). Students can expect to create a comprehensive project illustrating a biological system (eg. Anatomical Function, Metamorphosis, Pollination, etc.) with a focus on observational drawing from museum specimens and inclusion of diagrammatical, narrative, and applied typographic strategies for design communication. Working individually and in teams, projects will be taken from the study stages to polished compositions-creating innovative solutions for design challenges and focusing on legibility and navigability for a specific audience.	Class Number 2165	Credits 3	Department Visual Communication Design Area of Study Digital Imaging, Graphic Design, Illustration, Narrative, Art and Science Location Field Museum Basement
Advanced Scientific Illustration	4921 (001)	Jennifer Lobo, Donald Pollack	Mon 9:00 AM - 3:00 PM In Person
Description This course will allow students to further explore the immense world of scientific illustration, from the historical to the contemporary, and how it can enhance communication within design structures-including publication, mapping, and other forms of visual narrative-in the museum context. Classes will meet at the Field Museum of Natural History, where both the public and private research collections of Botany, Invertebrate, Mammology, Mycology, Ornithology, and Zoology will be utilized. As part of our inquiry, we will study and discuss the work of historical scientific illustrators such as Ernst Haeckel, Genevieve Jones, and Maria Sybilla Merian, which will be further complemented with a visit to the Field Museum's Marie Louise Rosenthal Library's Rare Book Room, housing an extensive collection of scientific illustration material dating back to the 15th Century. Furthermore, we will explore contemporary artists working at the intersection of science, illustration, and design, like Mark Dion, Nicholas Feltron, William Kentridge, Zachgari Logan,Greg Oakley, Alice Tangerini, along with other members of the American Society of Botanical Artists (ASBA). Students can expect to create a comprehensive project illustrating a biological system (eg. Anatomical Function, Metamorphosis, Pollination, etc.) with a focus on observational drawing from museum specimens and inclusion of diagrammatical, narrative, and applied typographic strategies for design communication. Working individually and in teams, projects will be taken from the study stages to polished compositions-creating innovative solutions for design challenges and focusing on legibility and navigability for a specific audience.	Class Number 2165	Credits 3	Department Visual Communication Design Area of Study Digital Imaging, Graphic Design, Illustration, Narrative, Art and Science Location Field Museum Basement
UGRD: Senior Exhibition (Spring)	4922 (001)		Fri 9:00 AM - 3:00 PM In Person
Description Students who enroll in Capstone: Senior Exhibition must have been assigned the Spring exhibition at SAIC Galleries. The Spring exhibition assignment takes place in the preceding term (Fall). Enrollment in this course will only be permitted for students eligible for the Spring exhibition. Students who fail to subsequently complete the Spring exhibition registration process may not ultimately participate in this exhibition-focused course. This interdisciplinary capstone class is designed to help students recognize patterns of inquiry within their practice and to help contextualize their work in preparation for their Senior Exhibition. The class will collaboratively organize a group curated section of the exhibition. Students will tackle both critical and practical aspects of exhibition planning from writing conceptual supporting texts to the nuts-and-bolts methods of installation and preparator work. An assessment of previous work will be the starting point for ongoing critical inquiry into your creative professional practice, and how you might position and locate your own work in the art-worlds of the 21st Century. Readings, screenings, and field trips will vary. Class visits by local artists will provide the opportunity to have a conversation about their lived experience sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a body of work or project for the Senior Exhibition, building a strong portfolio, and planning for post-SAIC life. Prerequisite: To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignments take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course. Prerequisites To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignment and registration take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course.	Class Number 1137	Credits 3	Department Undergraduate Studies Location MacLean B1-04
UGRD: Senior Exhibition (Spring)	4922 (002)	Laura Davis	Tues 9:00 AM - 3:00 PM In Person
Description Students who enroll in Capstone: Senior Exhibition must have been assigned the Spring exhibition at SAIC Galleries. The Spring exhibition assignment takes place in the preceding term (Fall). Enrollment in this course will only be permitted for students eligible for the Spring exhibition. Students who fail to subsequently complete the Spring exhibition registration process may not ultimately participate in this exhibition-focused course. This interdisciplinary capstone class is designed to help students recognize patterns of inquiry within their practice and to help contextualize their work in preparation for their Senior Exhibition. The class will collaboratively organize a group curated section of the exhibition. Students will tackle both critical and practical aspects of exhibition planning from writing conceptual supporting texts to the nuts-and-bolts methods of installation and preparator work. An assessment of previous work will be the starting point for ongoing critical inquiry into your creative professional practice, and how you might position and locate your own work in the art-worlds of the 21st Century. Readings, screenings, and field trips will vary. Class visits by local artists will provide the opportunity to have a conversation about their lived experience sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a body of work or project for the Senior Exhibition, building a strong portfolio, and planning for post-SAIC life. Prerequisite: To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignments take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course. Prerequisites To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignment and registration take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course.	Class Number 1138	Credits 3	Department Undergraduate Studies Location MacLean B1-04
UGRD: Senior Exhibition (Spring)	4922 (003)	Elena Ailes	Wed 9:00 AM - 3:00 PM In Person
Description Students who enroll in Capstone: Senior Exhibition must have been assigned the Spring exhibition at SAIC Galleries. The Spring exhibition assignment takes place in the preceding term (Fall). Enrollment in this course will only be permitted for students eligible for the Spring exhibition. Students who fail to subsequently complete the Spring exhibition registration process may not ultimately participate in this exhibition-focused course. This interdisciplinary capstone class is designed to help students recognize patterns of inquiry within their practice and to help contextualize their work in preparation for their Senior Exhibition. The class will collaboratively organize a group curated section of the exhibition. Students will tackle both critical and practical aspects of exhibition planning from writing conceptual supporting texts to the nuts-and-bolts methods of installation and preparator work. An assessment of previous work will be the starting point for ongoing critical inquiry into your creative professional practice, and how you might position and locate your own work in the art-worlds of the 21st Century. Readings, screenings, and field trips will vary. Class visits by local artists will provide the opportunity to have a conversation about their lived experience sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a body of work or project for the Senior Exhibition, building a strong portfolio, and planning for post-SAIC life. Prerequisite: To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignments take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course. Prerequisites To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignment and registration take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course.	Class Number 1150	Credits 3	Department Undergraduate Studies Location MacLean B1-04
UGRD: Senior Exhibition (Spring)	4922 (004)	Danny Floyd	Thurs 9:00 AM - 3:00 PM In Person
Description Students who enroll in Capstone: Senior Exhibition must have been assigned the Spring exhibition at SAIC Galleries. The Spring exhibition assignment takes place in the preceding term (Fall). Enrollment in this course will only be permitted for students eligible for the Spring exhibition. Students who fail to subsequently complete the Spring exhibition registration process may not ultimately participate in this exhibition-focused course. This interdisciplinary capstone class is designed to help students recognize patterns of inquiry within their practice and to help contextualize their work in preparation for their Senior Exhibition. The class will collaboratively organize a group curated section of the exhibition. Students will tackle both critical and practical aspects of exhibition planning from writing conceptual supporting texts to the nuts-and-bolts methods of installation and preparator work. An assessment of previous work will be the starting point for ongoing critical inquiry into your creative professional practice, and how you might position and locate your own work in the art-worlds of the 21st Century. Readings, screenings, and field trips will vary. Class visits by local artists will provide the opportunity to have a conversation about their lived experience sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a body of work or project for the Senior Exhibition, building a strong portfolio, and planning for post-SAIC life. Prerequisite: To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignments take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course. Prerequisites To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignment and registration take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course.	Class Number 1139	Credits 3	Department Undergraduate Studies Location MacLean B1-04
UGRD: Senior Exhibition (Spring)	4922 (005)	Stacia Laura Yeapanis	Mon 9:00 AM - 3:00 PM In Person
Description Students who enroll in Capstone: Senior Exhibition must have been assigned the Spring exhibition at SAIC Galleries. The Spring exhibition assignment takes place in the preceding term (Fall). Enrollment in this course will only be permitted for students eligible for the Spring exhibition. Students who fail to subsequently complete the Spring exhibition registration process may not ultimately participate in this exhibition-focused course. This interdisciplinary capstone class is designed to help students recognize patterns of inquiry within their practice and to help contextualize their work in preparation for their Senior Exhibition. The class will collaboratively organize a group curated section of the exhibition. Students will tackle both critical and practical aspects of exhibition planning from writing conceptual supporting texts to the nuts-and-bolts methods of installation and preparator work. An assessment of previous work will be the starting point for ongoing critical inquiry into your creative professional practice, and how you might position and locate your own work in the art-worlds of the 21st Century. Readings, screenings, and field trips will vary. Class visits by local artists will provide the opportunity to have a conversation about their lived experience sustaining a creative practice. With an emphasis on faculty mentorship, class meetings will support the development of a body of work or project for the Senior Exhibition, building a strong portfolio, and planning for post-SAIC life. Prerequisite: To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignments take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course. Prerequisites To enroll, students must be assigned to the Spring exhibition at SAIC Galleries. Assignment and registration take place in the preceding term (Fall). Students who fail to complete the registration process may not ultimately take this course.	Class Number 1149	Credits 3	Department Undergraduate Studies Location MacLean B1-04
VCS Senior Capstone	4923 (001)	Kristi Ann McGuire	Wed 12:15 PM - 3:00 PM In Person
Description This course is a continuation of Undergraduate Thesis: Research and Writing I. Students will continue to work on the drafts developed during the first semester and will meet at times as a group and at times individually with the instructor or teaching assistant. By the end of the semester, each student will have a 25-35 page superbly written thesis (maximum 45 pages), which will most likely (although it is not required) have visual content. Students will also present their thesis projects in the VCS Undergraduate Thesis Symposium at the end of the semester. Class meetings are used to discuss readings, workshop writing, share research methods and techniques, and discuss research and writing problems. Guest speakers and group visits to libraries may also be part of the class. Students are required to attend all meetings, participate actively in class discussions and workshops, present work in the symposium, and complete a polished thesis by the end of the semester. Prerequisites VCS 4800	Class Number 1158	Credits 3	Department Visual and Critical Studies Location Sharp 706
VCS Senior Capstone	4923 (002)	Patrick Durgin	Wed 12:15 PM - 3:00 PM In Person
Description This course is a continuation of Undergraduate Thesis: Research and Writing I. Students will continue to work on the drafts developed during the first semester and will meet at times as a group and at times individually with the instructor or teaching assistant. By the end of the semester, each student will have a 25-35 page superbly written thesis (maximum 45 pages), which will most likely (although it is not required) have visual content. Students will also present their thesis projects in the VCS Undergraduate Thesis Symposium at the end of the semester. Class meetings are used to discuss readings, workshop writing, share research methods and techniques, and discuss research and writing problems. Guest speakers and group visits to libraries may also be part of the class. Students are required to attend all meetings, participate actively in class discussions and workshops, present work in the symposium, and complete a polished thesis by the end of the semester. Prerequisites VCS 4800	Class Number 1166	Credits 3	Department Visual and Critical Studies Location MacLean 501
VISCOM: Advanced Graphic Design	4924 (001)	Mark Addison Smith	Fri 9:00 AM - 3:00 PM In Person
Description In this course students further develop their ability to undertake complex design problems involving typography and imagery to create meaningful solutions. Emphasized is the development of a point of view through a professional lens. It is the culmination of the beginning graphic design and intermediate graphic design course thread by taking a deeper exploration of visual communication design through the creation of systems, interventions, and speculations. In this course, students will be exposed to the work of contemporary print and digital designers and studios such as Second Story, Studio A and Appetite Engineers. Readings, lectures and course work will address the role of applicable design theory and methodologies to create, develop and articulate a concept based on extensive research and strategic thinking for clear communication objectives Coursework will vary as determined by the instructor, but will comprise a minimum of two projects. Basic parameters will be established by the instructor with final outcomes resulting in fully functional digital interactions and/or printed and possibly bound experiences. Assigned projects are user-centered, come with constraints, and have targeted audiences. Outcomes are open-ended physical experiences or digital interactions. Professional practice components are addressed, including making visual audits, writing project briefs, crafting strategies, presenting concepts, and thoroughly developing visual iterations and refinements. Prerequisites Student must have completed VISCOM 3001 and 3011, must also have completed a professional practice class or be a graduate student.	Class Number 1161	Credits 3	Department Visual Communication Design Area of Study Books and Publishing, Digital Communication, Graphic Design Location Sharp 1217
VISCOM: d.Studio	4925 (001)	Mark Stammers	Wed 9:00 AM - 3:00 PM In Person
Description d.STUDIO is a Visual Communication Design department, consent only, advanced Capstone course run in collaboration with SAIC's Marketing & Communications department. Students work with internal SAIC clients in a quasi-professional setting on real-world design projects and apply their skills to an array of print and digital media platforms to meet the messaging requirements of the client. Students work on two significant projects in a semester, and receive critical feedback on their progress at every stage of the design process via one-on-one, group, and client-led critiques and discussions. Students create professional-looking mood boards, facsimile mockups, and digital presentations to promote their ideas. The client awards the design commission for a project to the student whose concept best aligns with their communication needs. The client then works with the student to help bring the project to a successful conclusion. Communication possibilities include advertisements, animation, app design, direct mail, identity, invitations, packaging, postcards, posters, publications, and signage. Prerequisites Student must have completed VISCOM 3001 and 3011, must also have completed a professional practice class or be a graduate student.	Class Number 1159	Credits 3	Department Visual Communication Design Area of Study Digital Communication, Graphic Design, Product Design Location Sharp 1217
VISCOM: Design Thesis Seminar	4926 (001)	Stephen Farrell, Piotr Michura	Thurs 9:00 AM - 3:00 PM In Person
Description In this team-taught studio course, students have the opportunity to explore a specific design problem in the student's area of concentration and develop it thoroughly and comprehensively as a thesis throughout the semester. Work is carried out independently and discussed once a week in a critique seminar format. Students formally present their work at various points throughout the semester. Final work is presented to an outside panel of industry professionals. Students must submit a proposal to be admitted to Advanced Studio and have the signature of one of the two instructors to register for this course. Open to seniors and post-baccalaureates only. Readings and research materials for this class are largely directed by each student?s thesis and supplemental material suggested by the course instructors and classmates. Materials are presented to the class alongside work progress for discussion. Students should expect to produce a body of work consisting of finished pieces during the semester and a presentation detailing their process and trajectory, to be presented in a culminating course critique with an outside panel. Prerequisites Prerequisite: professional practice course or graduate student	Class Number 1160	Credits 6	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1217
VISCOM: Design Thesis Seminar	4926 (001)	Stephen Farrell, Piotr Michura	Thurs 9:00 AM - 3:00 PM In Person
Description In this team-taught studio course, students have the opportunity to explore a specific design problem in the student's area of concentration and develop it thoroughly and comprehensively as a thesis throughout the semester. Work is carried out independently and discussed once a week in a critique seminar format. Students formally present their work at various points throughout the semester. Final work is presented to an outside panel of industry professionals. Students must submit a proposal to be admitted to Advanced Studio and have the signature of one of the two instructors to register for this course. Open to seniors and post-baccalaureates only. Readings and research materials for this class are largely directed by each student?s thesis and supplemental material suggested by the course instructors and classmates. Materials are presented to the class alongside work progress for discussion. Students should expect to produce a body of work consisting of finished pieces during the semester and a presentation detailing their process and trajectory, to be presented in a culminating course critique with an outside panel. Prerequisites Prerequisite: professional practice course or graduate student	Class Number 1160	Credits 6	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1217
WRIT: BFAW Thesis Workshop	4927 (001)	Jose Moctezuma	Wed 12:15 PM - 3:00 PM In Person
Description In this course students will create a singular written project and enrich their understanding of how that project fits into a larger tradition. Through full-class workshops, small-group critiques, individual conferences, and engaged revision, students will deepen the grooves of their writing process and cultivate a practice that is open to feedback and that lets in surprise. Students' thesis projects can take multiple forms: poetry, fiction, creative nonfiction, comics, drama, hypertext, performance, hybrid work, or a combination thereof. The course's readings and inquiries will be driven both by students' own studies into material significant to their writing and by their productive engagement with their classmates' work. By the end of the semester, students will have completed a BFAW thesis, consisting of three parts: (1) a creative project; (2) an annotated bibliography; and (3) a reflective essay, which will examine an issue of craft, subject, process, or genre. Prerequisites Prerequisite: Professional practice course	Class Number 2076	Credits 3	Department Writing Location Lakeview - 803
FVNM: Senior New Media & 3D Projects	4928 (001)	Alan Kwan	Fri 9:00 AM - 3:00 PM In Person
Description In this senior capstone course, each student will focus on producing a new media, art game, or 3D animation project for public presentation. They will experiment with ideas, explore technical pipelines, develop realistic production plans, produce documentation materials, and engage in production work to complete projects that explore new intersections between moving image and technology. Designed for motivated and self-directed students, this course will guide them to explore ways of navigating the tension between artistic ambitions and deadlines, innovating with technical constraints, and developing production styles that fit their artistic practices. The course includes individual meetings, workshops, screenings, and critiques. We will watch and discuss contemporary works including experimental animations, video games, immersive installations, interactive art, etc. Students will be encouraged to develop concepts and techniques that challenge conventional approaches to these mediums as well as practical production and exhibition plans to implement them. We will explore the conflicts between imaginative ideas and real-world constraints, and the relationships between artistic intuition and logical planning. The artists and scholars we will study in this course will vary but some examples include Lauren Lee McCarthy, Golan Levin, Ken Perlin, Hideo Kojima, Simon Katan, and Henry Jenkins. Students are welcome to bring a project in progress or initiate a new project at the beginning of the course. By the end of the semester, each student should have a complete project ready for public presentation. Prerequisites Must have completed either FVNM 2015 or 2100 & a PROFPRAC class	Class Number 1163	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Game Design Location MacLean 519
DES OB: Speculative & Realized: Interdisciplinary Design Capstone Studio	4929 (001)	Peter J Zerillo	Tues 9:00 AM - 3:00 PM In Person
Description This studio course is designed for design-focused students in their final year at SAIC who are ready to develop an independent, self-directed design project. It is ideal for those who have cultivated their own design pathway, integrating studies across the four design departments¿Architecture, Interior Architecture, and Designed Objects (AIADO); Fashion Design; Visual Communication Design; and Designed Objects¿along with studio art courses at SAIC. Whether pursuing a passion project, preparing a competition entry, revisiting an unrealized concept, or exploring a new design territory, students will engage in critical research, material exploration, and iterative making. The course emphasizes conceptual development, project planning, and execution, with outcomes culminating in a publication, exhibition, or online presentation. Students will engage with a range of readings, case studies, and guest lectures that explore the future of design across disciplines. Topics will include independent design practice, sustainability, emerging technologies, speculative design, and strategies for professional longevity. Course materials will highlight designers and thinkers who navigate hybrid practices, create impact-driven work, or push the boundaries of existing fields. By examining these frameworks, students will develop a long-view approach to their own careers, identifying strategies for sustaining creative work and positioning themselves within the broader design world. Students will develop a self-directed design project, guided by structured exercises in writing a design brief, envisioning outcomes, resource gathering, and iterative prototyping, culminating in a final public presentation. Prerequisites Prerequisite: Professional practice course	Class Number 2221	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Graphic Design, Product Design Location Sullivan Center 1406B
Design for Nonhuman Kinds	4931 (001)		Fri 9:00 AM - 3:00 PM In Person
Description Design for Nonhuman Kinds is a course series that asks students to think 'outside the human,' by decentering human perception and subjectivity in favor of animal knowledge and experience. Design for Nonhuman Kinds challenges students to design and build forms that enrich the lives of animals in captivity by engaging their behaviors, cognitive thought processes and perceptions. In an era of climate collapse, mass extinction and a greater recognition of the ways humans and non-human beings co-constitute one another, we are beginning to recognize the limitations of anthropocentric thinking and making. This interdisciplinary course encourages design inclusivity and speculative thinking. Students will work with scientists, sanctuary staff, as well as contemporary theorists to study animal subjectivity and the relationship between design inclusivity for disabled persons and animals. Students will work in teams to design and build appropriate forms for animal enrichment. Courses included extensive collaboration with The Elephant Sanctuary in Hohenwald, Tennessee in which students designed and built prototypes for African and Asian elephants, and collaboration with the Center for the Great Apes in Florida in which students design and build prototypes for orangutans and chimpanzees. Future courses will introduce various plant and animal species. COURSE GOALS: The investigation is experimental, in that it addresses design inclusivity and thinking outside of the human; interdisciplinary, as it will draw from the histories and practices of both disciplines relying on speculative and even metaphoric thinking alongside concrete design and build strategies; and practical, as we will be working with an existing organization allowing students the opportunity to work in a partnership capacity outside of the school. This course asks students to think in a `non-anthropo-normative¿ manner, a challenge posited by very contemporary theoretical frameworks (the nonhuman turn, the animal turn, disability studies) that have had a strong influence on art and design. Yet, as the process involves responding to a specific scenario and making objects whose material properties are responsive to the scenario, students will have an opportunity to grow familiar with complex materials and forms. This is a critical maker's course. Please contact the instructor for details on joining the class.	Class Number 2287	Credits 3	Department Sculpture Area of Study Art/Design and Politics, Product Design, Sustainable Design Location 280 Building Rm 127
Architectural Fabrication	4950 (001)	Adel Machacca	Fri 9:00 AM - 3:00 PM In Person
Description This course teaches advanced techniques in hand and digital fabrication for architects and related disciplines. Teaching familiarizes students with the core concepts, tools, and workflows for the fabrication for research, presentation, and even components for construction. Class work includes iterative exercises and an opportunity to receive critical feedback on individual fabrication projects. 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 1014	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication Location Sullivan Center 1241
Graduate Writing Workshop	5001 (001)		Thurs 12:15 PM - 3:00 PM In Person
Description Writing workshops meet once a week for three-hour sessions and focus primarily on the work of students enrolled in the program, although published works will often be examined as well. Workshop sections vary in focus, emphasizing single genre, mixed genre, or new forms. Please see the Degree Course Schedule for current offerings. Students enroll in one writing workshop each semester.	Class Number 2009	Credits 3	Department Writing Location Lakeview - 803
Graduate Painting and Drawing Seminar	5001 (001)	Paul Heyer	Wed 6:45 PM - 9:30 PM In Person
Description This course looks at the range of concerns that inform and shape the making as well as the reception of paintings in a contemporary context. As a class, we will read, discuss and debate a range of historical and contemporary texts by artists, art historians, cultural theorists and critics on the continuing role and impact of painting as an art form, market force, and culture shaper, along with readings addressing the ability of art --and of painting in particular-- to effect political, ethical, and psychic change on both an individual and a broader social and cultural level. Thematic topics, readings and screenings will vary but are typically chosen in reference to specific VAP or Departmental artist lectures offered during the semester of the course. Readings/topics may relate to one or more of the following: disability theory and the relationship of art to self-care; the relationship of visibility politics to current impulses in painting; the relationship of art to work, labor and leisure; the case of 'zombie formalism' and market effects on painting trends; the role of autobiography in art making and painting practices in particular. Mandatory individual studio critiques of 45-60 minutes each; weekly written outlines/quick bullet-point responses to one or more class readings; mandatory attendance to VAP lectures and other lectures if scheduled at same time as seminar class; final paper consisting of a critical review of a painting exhibition currently on view in Chicago.	Class Number 1959	Credits 3	Department Painting and Drawing Location MacLean 1501
Wksp: Exploring the Margins	5001 (002)	Jill Riddell	Fri 8:30 AM - 11:15 AM In Person
Description In Exploring the Margins: Edges and Alleys, students learn to study what lies outside the center of cultural attention, developing a practice of inquiry grounded in curiosity, rigor, and imaginative focus. By undertaking new experiences and utilizing research skills, students will develop illuminating and surprising ways of uncovering the overlooked. This is a cross-genre course with a fiction and non-fiction emphasis. We will read the work of both ancient and contemporary observers and study their processes of research and creative experimentation. Students will generate new writing or deepen an existing project by expanding their focus beyond the obvious¿by learning to see and study what others might not. This class is a chance to cultivate transferable skills such as observation, ideation, critical analysis, and contextual research, and its topics and assignments will prepare the class¿s participants to be nimble thinkers who are well-positioned for future work in writing, cultural production, and creative leadership.	Class Number 2012	Credits 3	Department Writing Location Lakeview - 803
Graduate Painting and Drawing Seminar	5001 (002)	Jessica Jackson Hutchins	Thurs 6:45 PM - 9:30 PM In Person
Description This course looks at the range of concerns that inform and shape the making as well as the reception of paintings in a contemporary context. As a class, we will read, discuss and debate a range of historical and contemporary texts by artists, art historians, cultural theorists and critics on the continuing role and impact of painting as an art form, market force, and culture shaper, along with readings addressing the ability of art --and of painting in particular-- to effect political, ethical, and psychic change on both an individual and a broader social and cultural level. Thematic topics, readings and screenings will vary but are typically chosen in reference to specific VAP or Departmental artist lectures offered during the semester of the course. Readings/topics may relate to one or more of the following: disability theory and the relationship of art to self-care; the relationship of visibility politics to current impulses in painting; the relationship of art to work, labor and leisure; the case of 'zombie formalism' and market effects on painting trends; the role of autobiography in art making and painting practices in particular. Mandatory individual studio critiques of 45-60 minutes each; weekly written outlines/quick bullet-point responses to one or more class readings; mandatory attendance to VAP lectures and other lectures if scheduled at same time as seminar class; final paper consisting of a critical review of a painting exhibition currently on view in Chicago.	Class Number 1961	Credits 3	Department Painting and Drawing Location MacLean 1501
Wksp: Graphic Novels	5001 (003)	Beth Kathleen Hetland	Tues 8:30 AM - 11:15 AM In Person
Description Will Eisner was a trailblazer in many ways, one of which was to put the term 'graphic novel' on his 1978 book, A Contract with God. He was a tireless advocate for comics and wanted them to be included in scholarly discussions, reach a wide audience, but most importantly be appreciated as a medium, not a genre. A storytelling medium that could be used to tell an infinite number of stories in vastly different ways. By labeling his book as a graphic novel, he was able to do all of that and more. Comics aren't visual arts and they're not prose. They're a medium that exists in the tension between images and text. Readings will supplement this course and provide context and expectations for producing high caliber work paralleled with managing a studio practice and your health. Selections will vary but typically include This One Summer by Jillian and Mariko Tamaki, From Hell by Alan Moore and Eddie Campbell, Persepolis by Marjane Satrapi, BTTM FDRS by Ezra Claytan Daniels and Ben Passmore, and The Best We Could Do by Thi Bui. Course work will be largely focused on developing, writing, workshopping, and beginning the visual planning stages for a long form narrative in graphic novel format. Work will be primarily created with the intention to communicate a plan (thumbnails and sketching) not finished artworks. Depending on each individual's needs, there will be varying supplemental material that is created, including but not limited to sketches, visual studies, and research. You don't need to be a master draftsperson to take this course, but you should be ready to visualize what you write.	Class Number 2015	Credits 3	Department Writing Location Lakeview - 808
Wksp:Prose Style	5001 (004)	Todd S. Hasak-Lowy	Mon 12:15 PM - 3:00 PM In Person
Description This workshop focuses on the mechanics and politics of style. We'll look at commonplace virtues such as 'clarity,' 'energy,' 'fresh expression' and try to understand, technically, what is meant by these terms and, culturally, how they're constructed so as to appear desirable or natural. Readings in cultural theory, but emphasis on writing well: when looking at a sentence, how to put the thingamiggy here and what happens if you move the whosits there. Students will write in class and do wildly satisfying exercises on sentence rhythm, subordination and coordination, metaphor, and diction.	Class Number 2381	Credits 3	Department Writing Location Lakeview - 803
Writing Workshop	5001 (005)		Wed 8:30 AM - 11:15 AM In Person
Description Writing workshops meet once a week for three-hour sessions and focus primarily on the work of students enrolled in the program, although published works will often be examined as well. Workshop sections vary in focus, emphasizing single genre, mixed genre, or new forms. Please see the Degree Course Schedule for current offerings. Students enroll in one writing workshop each semester.	Class Number 2379	Credits 3	Department Writing Location Lakeview - 803
Direct Access	5002 (001)	Mie Kongo	Thurs 8:30 AM - 11:15 AM In Person
Description This interdisciplinary studio based in the ceramics department is designed for grad students interested in exploring the endless possibilities that clay offers as a material adapted into individual studio and research practices. The first portion of this class will be technically based to learn different modes of construction, mold making, as well as different glazing and firing techniques in ceramics. The second portion will be focused on independent projects, advising and critical discussions. Readings will be a combination of history of ceramics, contemporary artist, and technical information. Some of the contemporary artists using clay within contemporary art practice we will study in this course include Cannupa Hanska Luger, Elizabeth Jaeger, Woody De Othello, and more. There will be discussions on the history of ceramics and how contemporary artists use clay in performance, sculpture, design, architecture, and print media. Students should expect to produce a consistent body of work to be presented in a culminating course critique at the end of the session. Junior and Senior-level undergraduate students are welcome to enroll in this course and should email the instructor to seek authorization to register.	Class Number 1907	Credits 3	Department Ceramics Area of Study Art/Design and Politics, Gender and Sexuality, Class, Race, Ethnicity Location 280 Building Rm M153
Research and Production	5004 (001)	Kamau A. Patton	Wed 6:45 PM - 9:30 PM In Person
Description This graduate-level course immerses students in research methods and resources for use in their Visual and Critical Studies coursework and their theses. Guest speakers include librarians and curators. Students combine study of general research information with the pursuit of individual research projects directed by the instructor. [This is a required course for first-year students in the MA in VCS program.] Prerequisites Open to MAVCS students only.	Class Number 1881	Credits 3	Department Visual and Critical Studies Location Lakeview - 203
Direct Access: SculptureSculpture Toolkit: Fabrication Methods	5005 (001)	Dan Price	Mon 9:00 AM - 3:00 PM In Person
Description This interdisciplinary studio seminar based in the Sculpture department is designed for graduate students from across the institution who are interested in exploring the tools, processes and theories that guide and support advanced sculptural works. This course begins with an overview of the facilities and processes that the Sculpture Department provides. Processes include woodworking, metalworking, mold making and digital processes. The aim of the course is to allow students to safely and competently use sculptural processes in their individual studio and research practices. After four weeks of introduction, authorization and training, the course allows students to design and execute independent projects. This work is supported with theory, research, advising, planning, production and critical discussions. Readings and lectures will touch on the history and practice of Sculpture. Students will engage with the history of Sculpture and analysis of how contemporary artists use sculptural processes in the production of works in related fields, including performance, installation and more. Students will produce a series of work samples to establish competency within the studio processes covered. After that, they will imagine, design and complete a body of work suitable to their own individual research and studio goals that will be presented in a critique at the end of the session.	Class Number 2211	Credits 3	Department Sculpture Area of Study Public Space, Site, Landscape, Theory Location 280 Building Rm 023
ATSP Exhibition Practices Seminar	5006 (001)	Bonnie Han Jones, Douglas Rosman	Mon, Mon 12:15 PM - 3:00 PM, 12:15 PM - 3:00 PM In Person
Description This seminar focuses on the presentation of technological and sound works in exhibition and live performance contexts. It is a required seminar for second-semester AT/SP graduate students. Students will develop skills for presenting their work in a professional manner to maximize the public's encounter with media installations, live performances with media and/or sound components, video/sound screenings or installations, conceptual art works, and alternative curatorial scenarios. We will survey a number of artists' works specifically as they were presented in exhibitions or events, and include visiting professionals who are experts in exhibition installation, media arts presentation, and live performance production. We will specifically draw on SAIC staff for these expertise. Students will present their work and that of others in small- and large-group exhibitions and presentations both on and off campus.	Class Number 1903	Credits 3	Department Art & Technology / Sound Practices Area of Study Exhibition and Curatorial Studies Location MacLean 401, MacLean 522
Graduate Photography Seminar	5006 (001)	Jonas Becker	Wed 12:15 PM - 3:00 PM In Person
Description This graduate level studio seminar course is a hybrid of reading, discussion, making and critique, designed to pursue positions in historical and contemporary philosophy, critical analysis, and current thought relevant to photography and visual literacy. Throughout the semester, the course aims to explore the past and future of visual media and to look at its discourse in relation to life as an artist in the greater realm of culture, society and politics. Course programming includes critical readings, short and informal writing assignments, work and research presentations.	Class Number 1948	Credits 3	Department Photography Location 280 Building Rm 206
ATSP Exhibition Practices Seminar	5006 (001)	Bonnie Han Jones, Douglas Rosman	Mon, Mon 12:15 PM - 3:00 PM, 12:15 PM - 3:00 PM In Person
Description This seminar focuses on the presentation of technological and sound works in exhibition and live performance contexts. It is a required seminar for second-semester AT/SP graduate students. Students will develop skills for presenting their work in a professional manner to maximize the public's encounter with media installations, live performances with media and/or sound components, video/sound screenings or installations, conceptual art works, and alternative curatorial scenarios. We will survey a number of artists' works specifically as they were presented in exhibitions or events, and include visiting professionals who are experts in exhibition installation, media arts presentation, and live performance production. We will specifically draw on SAIC staff for these expertise. Students will present their work and that of others in small- and large-group exhibitions and presentations both on and off campus.	Class Number 1903	Credits 3	Department Art & Technology / Sound Practices Area of Study Exhibition and Curatorial Studies Location MacLean 401, MacLean 522
FVNM Sem:Endgame	5009 (001)	Bruce Jenkins	Mon 12:15 PM - 3:00 PM In Person
Description In our ever-changing (media) landscape, the (media) artist must not only make the artwork, but also find ways for the artwork to enter the world, master the institutional procedures to make its life public, think as an entrepreneur and organizer, build a community and professional network. As technology and institutional frameworks keep changing, these endgame strategies are in constant flux. This class will point the way towards- and discuss solutions. Four main areas of study will be detailed: -finishing the work; -negotiating media and exhibition/publishing contexts; working with institutions, curators, and writers; -community building and -awareness of preservation of art work, especially in regards to (ephemeral) electronic media. A series of guests, both curators, critics and working artists, will be sharing their insights and positions and offer advise.	Class Number 1919	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 517
Post-Baccalaureate Independent Projects	5009 (001)	Richard Hull	TBD - TBD In Person
Description Studio Projects:Independent studio work under the guidance of a faculty advisor. Post-Baccalaureatee studio students receive a list of scheduled advisors. Writing Projects: Independent tutorial work with the guidance and encouragement of a faculty advisor. Post-Baccalaureate writing students receive a list of scheduled advisors. The student registers for 6 credit hours of Post-Baccalaureate Projects during each semester of study. Prerequisites Open to Post-Baccalaureate students only.	Class Number 2022	Credits 3 - 6	Department Painting and Drawing Location
Post-Baccalaureate Independent Projects	5009 (002)	Matt Morris	TBD - TBD In Person
Description Studio Projects:Independent studio work under the guidance of a faculty advisor. Post-Baccalaureatee studio students receive a list of scheduled advisors. Writing Projects: Independent tutorial work with the guidance and encouragement of a faculty advisor. Post-Baccalaureate writing students receive a list of scheduled advisors. The student registers for 6 credit hours of Post-Baccalaureate Projects during each semester of study. Prerequisites Open to Post-Baccalaureate students only.	Class Number 2023	Credits 3 - 6	Department Painting and Drawing Location
Top: Automatic for the People	5010 (001)	Kristi Ann McGuire	Thurs 6:45 PM - 9:30 PM In Person
Description In 1976, as noted by a recent Viewpoint Magazine piece, Johnny ?Guitar? Watson, a former sessions player for Frank Zappa, whose landmark West Coast funk compositions effortlessly fused his auto-theoretical ?gangster of love? persona with post-soul, pre-discotheque blues guitar, released the eponymous single from his album Ain?t That A Bitch?the same year Milton Friedman won the Nobel Prize in Economics. And I quote: ?Everything is outta pocket! / Somebody do something! / The present situation is abstract!? In 2015, James Franco committed to film the character ?Alien,? purportedly based on real-life Houston-based rapper Riff Raff (who has a giant tattoo on his chest of Bart Simpson holding a beaker that reads,?The Freestyle Scientist?). Right around the time of Friedman?s victory speech (titled ?Inflation and Unemployment,? and dedicated to the memory of Alfred Nobel), Dr. Funkenstein (George Clinton, the ?cool ghoul with the funk transplant') and his Holy Mothership began to hover around a new consumer class of Thumpasorus peoples, just as Parliament-Funkadelic?s cosmological dispersion mirrored another kind of outsourcing?paraphrasing here, but why not put the jobs someplace they?ve never been perceived to be, like a spaceship. Funk, then the history of automation, then aliens. The shared history isn?t some mute-poetic post-automatic ontological flirtation: it?s embedded in Kurt Vonnegut?s first novel Player Piano, and intertwined with the anomie registered by the twentieth century?s increasing alienation of assembly line workers and e-commerce representatives. In 1963, Detroit autoworker and Marxist activist James Boggs wrote The American Revolution: Pages from a Negro Worker?s Notebook, about his experiences on the Chrysler assembly line, where he presupposed a new generation of the working class made obsolete by advances in heavy labor automation, left without a body to sell or their own labor-power to broker the deal. How did blip blip Marx?s Labor Theory of Value 010101 Space is the Place Where I Go All Alone take us through deregulated technocratic neoliberalism and to the other side: via the simulated proprietary satellite mapping that Curtis Mayfield may or may not have fever-dreamed in ?Diamonds in the Back?? We know that it knows the Waze to your Uber Pool?s rendezvous with the Awesome Power of a Fully Operational Mothership (T.A.P.O.A.F.O.M.)? ?Abdul Jabar couldn?t have made these prices/with a sky hook.? Long story short: funk emerged in the waning days of Fordism?s hold on the American economy, before drums largely lived in machines and workers were brokered out of politics. Funk parallels Jimmy Hoffa, Wattstax, the death of Henry Ford?s crony Harry Bennett, the arguments of Jefferson Cowrie?s Last Days of the Working Class, Dock Ellis throwing a perfect game on LSD, the goddamned Deer Hunter, stagflation, the threat of nuclear annihilation and concerts mounted against such, pro-labor PACs, Betty Davis?s ?Politician Man,? two energy crises, the Business Roundtable Lobby, Bootsy Collins dropping acid and flipping over the handlebars of his road bike in the middle of the woods triggering an out of body experience, and good ol? monetarist theory. P-Funk?s Mothership is now in the Smithsonian Museum. ?Strike on Computers!,? as Watson suggested. I once climbed through a window of the abandoned Studebaker-Packard Plant one Detroit afternoon in 1996 and cut my foot on a shard of glass perhaps manufactured in the form of a Pepsi bottle at the Mack Avenue warehouse two blocks away or two decades before. I bled for a while through an anklet, but then we listened to the Fugees cover Roberta Flack?s ?Killing Me Softly? on someone?s CD of The Score (playback technology developed by the Advent Corporation) the rest of the ride home.	Class Number 2206	Credits 3	Department Visual and Critical Studies Location Lakeview - 203
Graduate Art and Technology Seminar	5010 (001)	Edward Kac	Wed 12:15 PM - 3:00 PM All Online
Description This course is meant to provide an informal critical backdrop for those working within the broad range of art and technology. Students meet once a week to present and discuss their work. The faculty leader facilitates the dialog, which is designed to aid students to formulate their ideas and articulate a critique of their own work as well as that of their peers.	Class Number 2202	Credits 3	Department Art & Technology / Sound Practices Location Online
Curriculum Theory, Pedagogy, and Possibilities	5011 (001)	Adam J Greteman	Tues 12:15 PM - 3:00 PM In Person
Description This course provides an overview of curriculum theory by exploring curricula as historical, cultural, social, and political texts and practices. Students will interrogate the ways in which curriculum often reifies and propagates knowledge, values and beliefs that benefit the dominant culture and reinforce the normalcy of competitive capitalistic ideals, racial hierarchies, oppressive gender binaries, and the exploitation of nature. Critical approaches to curriculum that defy and challenge these hegemonic conceptions of curriculum will be examined. Through the process of these explorations, students will develop an understanding of how curriculum shapes the social, political, emotional, psychological, and physical structures in which teaching and learning occur. Students will learn how to develop multilayered art curriculum that critically addresses urgent and crucial topics and themes that are marginalized by or neglected within much contemporary K-12 curriculum. Students will read a variety of historically significant and vital contemporary curricular theorists who represent a broad diversity of educational philosophies: educational essentialism; child/student centered curriculum; critical pedagogy; feminist pedagogy; critical race pedagogy; queer pedagogy; culturally sustaining pedagogy. Students will also read texts representative of art education curricular philosophies that evolved congruently with these general educational theories: discipline-based art education; visual culture art education; teaching for artistic behavior; social justice art education. Students will participate in class in a variety of ways ¿ small and large group discussion, active listening, and in-class writing assignments. Students will create speculative art curriculum projects that creatively and critically explore contemporary issues of import in society that are particularly germane to young people in grades K -12. Students will give presentations that demonstrate their fluency in curriculum theory and development as well as growing mastery of engaging presentation styles and formats. Prerequisites Prerequisite: Open to MAAE or MAT students only or with permission of instructor.	Class Number 1878	Credits 3	Department Art Education Area of Study Gender and Sexuality, Community & Social Engagement, Teaching Location Sharp 706
Expanding Comics: Interdisciplinary Approaches	5011 (001)	Alex Karenina Kostiw, Mark Addison Smith	Mon 12:15 PM - 3:00 PM In Person
Description This critique seminar frames the definition and structure of comics through a wide interdisciplinary lens. As a means of visual communication, comics adapts and configures elements of a variety of disciplines to produce a multimodal reading experience. Students will examine how comics are constructed and develop discourse on what constitutes comics through conceptual investigation and comparative studies. By experimenting with comics beyond the page, students will deepen and expand their understanding of comics and its vast possibilities. We will explore art and design works in relation to comics as points of departure for students¿ research. This may include Lilli Carre¿s animations and artist¿s books; Seth¿s Dominion; the Chicago Imagists¿ paintings and sculptures; Lorna Simpson¿s series of photographs with text; Dadaist posters; 20th-century Japanese woodblock prints; experimental films, such as La Jete; pictographic writing systems, such as Mayan script; comics exhibition design at the MCA; and works in the Joan Flasch Artist¿s Book Collection. Students can expect to synthesize their research into interdisciplinary approaches to comics generating 3-4 outcomes. The coursework builds skills and methodologies to prepare students for dynamic professional practices.	Class Number 2173	Credits 3	Department Visual Communication Design Area of Study Comics and Graphic Novels, Narrative Location Sharp 1116
Expanding Comics: Interdisciplinary Approaches	5011 (001)	Alex Karenina Kostiw, Mark Addison Smith	Mon 12:15 PM - 3:00 PM In Person
Description This critique seminar frames the definition and structure of comics through a wide interdisciplinary lens. As a means of visual communication, comics adapts and configures elements of a variety of disciplines to produce a multimodal reading experience. Students will examine how comics are constructed and develop discourse on what constitutes comics through conceptual investigation and comparative studies. By experimenting with comics beyond the page, students will deepen and expand their understanding of comics and its vast possibilities. We will explore art and design works in relation to comics as points of departure for students¿ research. This may include Lilli Carre¿s animations and artist¿s books; Seth¿s Dominion; the Chicago Imagists¿ paintings and sculptures; Lorna Simpson¿s series of photographs with text; Dadaist posters; 20th-century Japanese woodblock prints; experimental films, such as La Jete; pictographic writing systems, such as Mayan script; comics exhibition design at the MCA; and works in the Joan Flasch Artist¿s Book Collection. Students can expect to synthesize their research into interdisciplinary approaches to comics generating 3-4 outcomes. The coursework builds skills and methodologies to prepare students for dynamic professional practices.	Class Number 2173	Credits 3	Department Visual Communication Design Area of Study Comics and Graphic Novels, Narrative Location Sharp 1116
Building Diagnostics	5012 (001)	Anne T. Sullivan	Thurs 8:30 AM - 11:15 AM In Person
Description Why do buildings get sick and how do we make them well? This course examines the deterioration (by man and nature) of building materials and their component systems. Through lectures and field studies, students will study the symptoms, diagnose the problem, determine what tests are needed, and how to remedy the effect . Field trips included.	Class Number 2021	Credits 3	Department Historic Preservation Location Lakeview - 1507
Contemporary Histories: Fiber	5014 (002)	L Vinebaum	Wed 12:15 PM - 3:00 PM In Person
Description This course locates current practice and discourse in fiber and material studies within a contemporary history of the field. Focusing mainly on the period from the 1950s onward, the course emphasizes important moments in the emergence of Fiber as a field of practice and theory, considered in relation to other contemporary movements in art, politics, global movements, and theory. Rather than explore the contemporary histories of fiber using a linear or temporal progression, the class moves and makes connections across time and place. The class considers fiber's at times marginal status within art and art history, and it also examines and seeks to rectify dominant, Eurocentric narratives both inside and outside of fiber, notably by critically interrogating the fiber's dominant, eurocentric 'canon'. Key themes discussed in the class include colonialisms and colonial violence's, decolonization, 'modernism', 'abstraction', genders, feminisms, labor, globalization, activist and participatory practices, and digital production. readings will vary but will include texts by authors like César Paternosto, Scott Lauria Morgennsen, María Lugones, Lisa Nakamur, Nicole Archer, Walter Mignolo, Margaret Villanueva, Paul Sharrad, Sarah Cheang, Patrick Wolfe, Mary Frame, Fo Wilson, ¿ The Combahee River Collective, Andrea Smith, Okwui Enwezor, and Gelare Khoshgozaran. Visual examples will include numerous works by early fiber artists, contemporary works by artists working in and with fiber,and historical textiles from around the world. Coursework typically includes reading several assigned texts every week, leading and participating in group discussions, weekly reading prompts, a midterm project proposal, and a final text-based project.	Class Number 2116	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Gender and Sexuality, Class, Race, Ethnicity Location Lakeview - 203
Preservation Planning Studio	5015 (001)	Charles Pipal	Wed 9:00 AM - 3:00 PM In Person
Description A selected neighborhood or region is studied, researched, and analyzed. The tools of preservation planning are practiced in the field-including the analysis and history of individual buildings, the study of various building types and their place in the community, the impact of transportation and institutions on the historic fabric, and the history of the community over time. Students conduct surveys of historic resources, prepare a comprehensive report, and present their findings before the community. Learning Objectives: Develop the skills required to conduct a comprehensive historic resources survey. Those skills include conducting area research, developing survey methodology, data collection, summary descriptive writing and presentation skills, both written and oral. The subject area for this course will vary each year.	Class Number 2019	Credits 3	Department Historic Preservation Location Lakeview - 1506
Graduate Performance Seminar	5016 (001)	Sara Jane Bailes	Thurs 12:15 PM - 3:00 PM In Person
Description A laboratory for experiment in terms of thought and action, this interdisciplinary critique seminar explores a series of key contemporary themes and issues in the area of live art. The course aims to be both topical and provocative, and as participants, you are invited to take a position (or play devil¿s advocate) in relation to a series of burgeoning topics and issues that are currently forming contemporary discourses concerning art and performance. In particular, this class will have a specific emphasis on interrogating presentational modes and discursive techniques. Through readings, discussion, and presentations, students will have an active stake in the form and nature of these discussions. The course is structured in two parts. In the first part, classes will focus on the activation and physicalization of what we have read. We will undertake practical workshops, embodied theory, provocations, and performance actions as a means of enacting the discourses we have explored. Students will examine their multidisciplinary work through the lens of performance. In the second part of the course, each student will present their current practice in the form of a performance, studio visit or other mode best suited for their work. Various guest artists, scholars and curators will be invited to participate in these final studio critiques.	Class Number 1945	Credits 3	Department Performance Location 280 Building Rm 012
Financial Management	5017 (001)	Libia Bianibi	Mon 6:45 PM - 9:30 PM In Person
Description Effective management requires knowledgeable and thoughtful preparation and use of financial information. This course focuses on the most critical financial management concepts and skills. Topics include: principles of financial management and control; budget preparation; financial management and strategic planning; allocation and recovery of indirect costs; preparation and analysis of financial reports; and coping with cutbacks. Quantitative analysis is emphasized. Students develop the confidence and ability to produce budgets, set prices and undertake other financial tasks required of administrators. Prerequisites You must be a Master of Arts in Arts Administration & Policy student to enroll in this course, or by instructor consent.	Class Number 1826	Credits 3	Department Arts Administration and Policy Location MacLean 112
The Postcolonial Paradigm: Biennales and Large-Scale Exhibitions in a Global Age	5018 (001)	Arshiya Lokhandwala	Fri 12:15 PM - 3:00 PM All Online
Description The Postcolonial Paradigm: Biennales and Large-Scale Exhibitions in a Global Age examines the history of the art world as one that is multilayered, overlapped in order to contradict the grand narrative of Western modernity. It closely engages postcolonial theory while examining how the non-Western ¿other¿ has come to be viewed through the examination of two significant exhibitions: Magiciens de la Terre, 1989, and Documenta 11, 2002 in Kassel Germany curated by Jean Martin, and Okwui Enwezor. While unpacking these two important exhibitions, to understand the emergence of postcolonial discourse in the context of contemporary art practices we engage with postcolonial theory including the work of Homi Bhabha, Gayatri Spivak, Edward Said and Dipesh Chakravarty amongst others. We will also investigate the emergence of the large-scale exhibitions and biennales particularly within the third world context, to engage outside the singular modern domain of the West, allowing for a new understanding to view the world and humanity through the realm of contemporary art. We will examine the history of exhibtiions and biennales closely looking at the work of artist's from the Third world. We will also closely unpack the curation of these two mega space shifter exhibtions Magiciens de la Terre, 1989, and Documenta 11, 2002 in Kassel Germany curated by Jean Martin, and Okwui Enwezor, to understand the contributions that exhibtiions can bring about in changing the discourse of art. As we engage with postcolonial theory we unravel the euro-centric trope within art and curation and devlop a criticality voice in viewing art and exhibitions alike. Two essays - midterm and finals essay are expected including active discussion in class.	Class Number 2077	Credits 3	Department Art History, Theory, and Criticism Area of Study Exhibition and Curatorial Studies, Museum Studies, Art and Science Location Online
Advanced Scientific Illustration	5021 (001)	Jennifer Lobo, Donald Pollack	Mon 9:00 AM - 3:00 PM In Person
Description This course will allow students to further explore the world of scientific illustration, from the historical to the contemporary, and how it can enhance communication within design structures-including publication, mapping, and other forms of visual narrative. Classes will meet at the Field Museum of Natural History. We will study and discuss the work of historical scientific illustrators such as Ernst Haeckel, Genevieve Jones, and Maria Sybilla Merian, which will be further complemented with a visit to the Field Museum's Marie Louise Rosenthal Library's Rare Book Room. Furthermore, we will explore contemporary artists working at the intersection of science, illustration, and design, like Mark Dion, Nicholas Feltron, William Kentridge, Zachgari Logan, Greg Oakley, and Alice Tangerini. Students can expect to create a comprehensive project illustrating a biological system (eg. Anatomical Function, Metamorphosis, Pollination, etc.) with a focus on observational drawing from museum specimens and inclusion of diagrammatical, narrative, and applied typographic strategies for design communication. Working individually and in teams, projects will be taken from the study stages to polished compositions ¿ creating innovative solutions for design challenges and focusing on legibility and navigability for a specific audience. Graduate students will be expected to turn their research into an interdisciplinary comprehensive piece of textual/visual work related to their thesis research. The students will receive individualized feedback regarding their thesis-project needs. They will be invited to further expand their research and studio development through accessing the museum's collection, specimens, archive facilitated by research guidance from the Museum's experts, guest speaker visits, and grad critiques. This graduate-level coursework builds knowledge and experience for future career paths in research-based institutions and other spaces merging art, science, and design.	Class Number 2161	Credits 3	Department Visual Communication Design Area of Study Digital Imaging, Graphic Design, Illustration, Narrative Location Field Museum Basement
Advanced Scientific Illustration	5021 (001)	Jennifer Lobo, Donald Pollack	Mon 9:00 AM - 3:00 PM In Person
Description This course will allow students to further explore the world of scientific illustration, from the historical to the contemporary, and how it can enhance communication within design structures-including publication, mapping, and other forms of visual narrative. Classes will meet at the Field Museum of Natural History. We will study and discuss the work of historical scientific illustrators such as Ernst Haeckel, Genevieve Jones, and Maria Sybilla Merian, which will be further complemented with a visit to the Field Museum's Marie Louise Rosenthal Library's Rare Book Room. Furthermore, we will explore contemporary artists working at the intersection of science, illustration, and design, like Mark Dion, Nicholas Feltron, William Kentridge, Zachgari Logan, Greg Oakley, and Alice Tangerini. Students can expect to create a comprehensive project illustrating a biological system (eg. Anatomical Function, Metamorphosis, Pollination, etc.) with a focus on observational drawing from museum specimens and inclusion of diagrammatical, narrative, and applied typographic strategies for design communication. Working individually and in teams, projects will be taken from the study stages to polished compositions ¿ creating innovative solutions for design challenges and focusing on legibility and navigability for a specific audience. Graduate students will be expected to turn their research into an interdisciplinary comprehensive piece of textual/visual work related to their thesis research. The students will receive individualized feedback regarding their thesis-project needs. They will be invited to further expand their research and studio development through accessing the museum's collection, specimens, archive facilitated by research guidance from the Museum's experts, guest speaker visits, and grad critiques. This graduate-level coursework builds knowledge and experience for future career paths in research-based institutions and other spaces merging art, science, and design.	Class Number 2161	Credits 3	Department Visual Communication Design Area of Study Digital Imaging, Graphic Design, Illustration, Narrative Location Field Museum Basement
Heavy Cardboard: Designing Boardgames	5022 (001)	Stephen Farrell	Wed 9:00 AM - 3:00 PM In Person
Description This course explores boardgame design as an expression of data visualization and user interface (UI) within a play environment. Teams of students will develop their chosen research areas into fun, strategic, well-crafted integrations of theme, game mechanics and world order. Resource management will provide a framework for developing mechanics, while playtesting and prototyping will drive teams' iterative process. The only way to truly understand how boardgames work is to play boardgames and analyze the play experience. To this end, much of our in-class time will be spent 1.) playing existing games that highlight certain game mechanics and levels of difficulty, and 2.) repeatedly play-testing each others' evolving games. How does each game immerse us? Do their themes come forth and flow through the game mechanics? Are they fun, unpredictable, balanced? How does each one situate its players in a point of view? How does graphic design facilitate immersion and theme and an understanding of structures and actions. Lectures, team presentations, and individual team meetings with teachers will supplement game play. The course will begin with one-week studio exercises focused on theming, game mechanics and visualization techniques for boardgames. Over the semester, teams of students will research, design and prototype a Eurostyle boardgame of their choosing. The final will include a prototype of the game, rulebook, and overview teach video. Graduate seminar students will extend their self-directed research into a broader ecology. They will produce written reports after several playtests, and they will be required to design, engineer, and produce a game box with a game insert. Prerequisites Student must have completed one of VISCOM 3002/3045/4535/4590, or be a graduate student.	Class Number 2159	Credits 3	Department Visual Communication Design Location Sharp 1117
Theories of Water	5023 (001)	Jane Robbins Mize	Thurs 3:30 PM - 6:15 PM In Person
Description How might critical and creative work influence human-water relations? As the threat of droughts, floods, and severe storms intensifies, scholars and artists have turned their attention to bodies of water. In this course, we will explore the growing field of the 'blue humanities' while examining representations of water across media. We will ask questions such as: How do Western understandings of water as a 'natural resource' lead to environmental and epistemological crises? What might anti-colonial human-water relations look like in the era of climate catastrophe? How does environmental media and research-based art contribute to resistance movements and advocate for the rights of water? And how might work in the blue humanities intervene in scientific and political discourses? Course materials will foreground Black, Brown, and Indigenous voices and will include literature, film, and research-based art as well as scholarship by Tiffany Lethabo King, Christina Sharpe, Nick Estes, and others. In this Liberal Arts graduate seminar, masters students across disciplines will have the opportunity to develop in-depth research projects as they pursue original inquiries into human-water relations. Students will expand their skills in academic research and writing while also deepening their research-based practices.	Class Number 2285	Credits 3	Department Graduate Studies Area of Study Class, Race, Ethnicity, Community & Social Engagement, Public Space, Site, Landscape Location MacLean 617
Graduate Fiber and Material Studies Seminar	5024 (001)	Jade Yumang	Thurs 12:15 PM - 3:00 PM In Person
Description This seminar introduces incoming first year FMS graduate students to each other and their respective work and interests, the School community and resources, and the larger Chicago community, arts community, and local resources. Relevant historical and contemporary issues and concerns will take different thematic forms each year. Emphasis is on deepening one?s understanding of their studio practice through critical discussion and evaluation, and deepening one?s engagement with fiber histories, materials, processes, cultures, and politics. The seminar is always developed in conjunction with visiting artists' presentations and critiques, as well as readings, discussions, field trips, lectures, student presentations, and in-depth studio visits and critiques. Course work varies but typically includes presenting in-process and completed studio work for critique, student presentations, reading discussions, and research/investigation assignments.	Class Number 2264	Credits 3	Department Fiber and Material Studies Location Sharp 903
Archive Fever: Research Seminar	5024 (001)		Thurs 12:15 PM - 3:00 PM In Person
Description The thematic structure of this course is situated around ideas of the archive. In its simplest form this refers to the aggregation of materials, practices, languages, information. We will also examine how the archive conceptually relates to more performative, gestural, or ephemeral forms; the ways an entire studio practice, a human life, or a single object can be considered an archive. What is at stake when we consider the breadth of history embedded in a single thing, word, or place? How does this change our negotiations with found matter (photographed, remembered, absorbed, etc). From a practical standpoint, students will be examining their own studio practices and the ways in which their research relates to developing the underlying conceptual thread spanning their works: How can artistic research change the core questions fueling our inquiries? How can our research practices symbiotically nourish our studio practices? Students will be required to visit local archives, meet with researchers/professors outside the department/school, and to write critically about their own work. Projects include: Close reading of The Archive (Whitechapel Press) 1 page artist statement based on interviews and studio visits with classmates A research paper related to studio practice (Based on research in archives around Chicago; expanded from 1 page artist statement)	Class Number 1958	Credits 3	Department Printmedia Area of Study Art/Design and Politics, Class, Race, Ethnicity, Community & Social Engagement Location 280 Building Rm 203
Introduction to Experimental 3D	5025 (001)	Marlena Novak	Thurs 9:00 AM - 3:00 PM In Person
Description This class is inspired by Johannes Itten's radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.	Class Number 1918	Credits 3	Department Film, Video, New Media, and Animation Area of Study Animation, Digital Imaging, Social Media and the Web Location MacLean 519
Graduate Sculptural Practices Critique Seminar	5025 (001)	Adrian Wong	Thurs 12:15 PM - 3:00 PM In Person
Description This seminar focuses on developing a shared language for interdisciplinary critique, and on understanding one's own work better through fine-tuning how you look and talk about each other's. We will proceed with the assumption that all artworks are by nature collectively authored in that they emerge from, and contribute to, the ongoing conversation of art. This is an interdisciplinary seminar consisting of studio visits informed by selected readings and discussions, short writing assignments, and one longer piece of writing related to your work. This class aims to help you deepen your relationship to your work, and to develop an ease with, and appetite for, theoretical discourse and critical dialogue to help sustain your practice in the long-term.	Class Number 1984	Credits 3	Department Sculpture Location 280 Building Rm 015
Art Now: Contemporary Debates, Visiting Artists	5026 (001)	Pauline J Yao	Tues, Mon 8:30 AM - 11:15 AM, 5:00 PM - 8:00 PM In Person
Description Using the Spring 2025 Visiting Artist Program (VAP) lectures as a point of departure, this seminar addresses some of the most urgent issues and debates shaping the production and distribution of art right now. The class will attend all of the VAP lectures on Tuesday nights throughout the term, followed by exclusive discussions with the artists in question on Wednesday mornings. Seminar readings will include texts and interviews on each visiting artist, as well as broader texts that expand their concerns to larger concerns in cultural, social and political spheres. We will repeatedly ask our visitors and ourselves: what is it that art has to offer that is unique from activism, journalism, media studies, sociology, or any other field of inquiry or action? Founded in 1868, the Visiting Artists Program is one of the oldest public programs of the School of the Art Institute of Chicago. It has featured over 1,000 international artists, designers, and scholars representing more than 70 countries through a diverse mix of lectures, screenings, conversations, and readings. Attending the lectures on Tuesdays and the seminar on Wednesday morning is mandatory, which means that students' schedules will need to be free both times. Class will meet both Tuesday and Wednesday on weeks when there is a VAP lecture, and only on Wednesdays when there is no lecture. Assignments will include a journal with short responses to all the lectures and a final paper or creative project related to course material.	Class Number 1893	Credits 3	Department Art History, Theory, and Criticism Location MacLean 301
Art Now: Contemporary Debates, Visiting Artists	5026 (001)	Pauline J Yao	Tues, Mon 8:30 AM - 11:15 AM, 5:00 PM - 8:00 PM In Person
Description Using the Spring 2025 Visiting Artist Program (VAP) lectures as a point of departure, this seminar addresses some of the most urgent issues and debates shaping the production and distribution of art right now. The class will attend all of the VAP lectures on Tuesday nights throughout the term, followed by exclusive discussions with the artists in question on Wednesday mornings. Seminar readings will include texts and interviews on each visiting artist, as well as broader texts that expand their concerns to larger concerns in cultural, social and political spheres. We will repeatedly ask our visitors and ourselves: what is it that art has to offer that is unique from activism, journalism, media studies, sociology, or any other field of inquiry or action? Founded in 1868, the Visiting Artists Program is one of the oldest public programs of the School of the Art Institute of Chicago. It has featured over 1,000 international artists, designers, and scholars representing more than 70 countries through a diverse mix of lectures, screenings, conversations, and readings. Attending the lectures on Tuesdays and the seminar on Wednesday morning is mandatory, which means that students' schedules will need to be free both times. Class will meet both Tuesday and Wednesday on weeks when there is a VAP lecture, and only on Wednesdays when there is no lecture. Assignments will include a journal with short responses to all the lectures and a final paper or creative project related to course material.	Class Number 1926	Credits 3	Department Graduate Studies Area of Study Community & Social Engagement Location MacLean 301
Grad Sem: Lost and Found and Lost Again	5027 (001)	Lou Mallozzi	Fri 12:15 PM - 3:00 PM In Person
Description How might an artist¿s practice change if they were to adapt it to a radically new context of presentation? Our touchstone is the work of musician Miles Davis (1926-1991), who made a radical shift from all-acoustic ¿cool¿ jazz to an electro-acoustic hybrid (later dubbed ¿fusion¿) in 1967. By examining the social, technological, and material contexts of this shift that exceed questions of ¿style,¿ we see similar crisis-point strategizing by other artists such as Philip Guston, Kara Walker, and David Hammons and we can interrogate our own practices in a shifting cultural environment that often pressures artists¿ identities. Through readings, screenings, and dialogues with visiting artists and scholars, we will examine Miles Davis¿ career, and extend this to examining that of other artists in other contexts, such as Philip Guston, Kara Walker, David Hammons, and others from a wide range of media, disciplines, and perspectives. Students will be asked to purposefully and radically shift their own practice (even momentarily) to a different format, medium, presentational platform or target audience while consciously and critically maintaining their core being. The outcome will be a publication and/or public presentation of new student work and research.	Class Number 2380	Credits 3	Department Graduate Studies Area of Study Art/Design and Politics, Books and Publishing, Collaboration, Class, Race, Ethnicity, Interaction and Participation Location MacLean 522
Graduate FMS Critique Seminar	5029 (001)	Diana Guerrero-Maciá	Tues 12:15 PM - 3:00 PM In Person
Description This seminar examines critique of studio practice in an open discourse style for graduate students. Each student will develop and articulate key concerns in their work during studio visits and/or small group critiques through writing, researching, material questions, and contextualizing their practice. We will evaluate the work within the studio and exhibitions in a respectful and productive manner through art historical context, social & political climates, process & skill, institutional frameworks, and experiences. Writing will be centered on individual practice, observation, biography, and deep looking of artworks. Additionally, visits with galleries, museum collections, and professionals in the field will be scheduled.	Class Number 1911	Credits 3	Department Fiber and Material Studies Location Sharp 903
Critical Fabulations	5030 (001)	Jennifer Dorothy Lee	Thurs 12:15 PM - 3:00 PM In Person
Description Histories both untold and unsung continue to shape art historical inquiries through absence. This course asks: What are the means and methods of filling in the negative spaces where documentation falls short, and where archives yield indifference if not violence? At times speculative, always imaginative, the craft of piecing together the lives left off historical records and administrative ledgers demand responsible research, methodological rigor, as well as radical openness. This seminar invites students to explore existing approaches by Saidiya Hartman, Margaret Hillenbrand, Alexander Nemerov, Sasha Su-Ling Welland, among others, before crafting their own. Readings will consist of approximately one book per week (specific sections) as case studies of diverging approaches to the work of critical fabulation, jumping off from the starting point of Saidiya Hartman's Wayward Lives. Other works to be studied include Margaret Hillenbrand's recent publication on migrant artists in China as well as Alexander Nemerov's portrait of his aunt, Diane Arbus. Course work will typically include weekly reading responses as well as a final writing project in which each student develops their own approach, based on their individual research interests, to critical fabulation.	Class Number 2092	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality, Class, Race, Ethnicity, Public Space, Site, Landscape Location MacLean 112
The Museum as Critical Curriculum	5030 (001)	Ali Blake	Thurs 12:15 PM - 3:00 PM In Person
Description This course explores current issues in museum education and audience engagement with an emphasis on implications for practice. Students will engage with concepts such as partnerships, accessibility, youth engagement, community outreach, public programming, and more. Students will also explore museum practice as it is shaped by legacies of colonialism, systemic racism, misogyny, and other forms of exclusion, in addition to addressing urgent questions about museums in the COVID era and beyond. Students will directly engage with museums in Chicago and elsewhere both remotely and in person (where safe and appropriate), and will regularly interact with practicing museum professionals, primarily at the Art Institute of Chicago. Discussions and projects will be supplemented and inspired by readings and other media, as well as museum visits and conversations with guest presenters. This course is based upon the premise that public cultural institutions must be seen as important sites for life-long and at-will learning (entertainment and pleasure). Along with libraries, public museums are one of our nation?s few institutions that offer all citizens access to essential opportunities and resources.	Class Number 1836	Credits 3	Department Art Education Area of Study Art/Design and Politics, Museum Studies, Teaching Location Sharp 404
Wksp: Graphic Novels	5031 (001)	Beth Kathleen Hetland	Tues 8:30 AM - 11:15 AM In Person
Description Will Eisner was a trailblazer in many ways, one of which was to put the term 'graphic novel' on his 1978 book, A Contract with God. He was a tireless advocate for comics and wanted them to be included in scholarly discussions, reach a wide audience, but most importantly be appreciated as a medium, not a genre. A storytelling medium that could be used to tell an infinite number of stories in vastly different ways. By labeling his book as a graphic novel, he was able to do all of that and more. Comics aren't visual arts and they're not prose. They're a medium that exists in the tension between images and text. Readings will supplement this course and provide context and expectations for producing high caliber work paralleled with managing a studio practice and your health. Selections will vary but typically include This One Summer by Jillian and Mariko Tamaki, From Hell by Alan Moore and Eddie Campbell, Persepolis by Marjane Satrapi, BTTM FDRS by Ezra Claytan Daniels and Ben Passmore, and The Best We Could Do by Thi Bui. Course work will be largely focused on developing, writing, workshopping, and beginning the visual planning stages for a long form narrative in graphic novel format. Work will be primarily created with the intention to communicate a plan (thumbnails and sketching) not finished artworks. Depending on each individual's needs, there will be varying supplemental material that is created, including but not limited to sketches, visual studies, and research. You don't need to be a master draftsperson to take this course, but you should be ready to visualize what you write.	Class Number 1983	Credits 3	Department Painting and Drawing Area of Study Art/Design and Politics, Books and Publishing, Comics and Graphic Novels Location Lakeview - 808
Visualizing Slavery	5031 (001)	Eddie Chambers	Tues 12:15 PM - 3:00 PM In Person
Description Beginning in the late 18th century and continuing into the 21st century, artists have attempted to create images that represent enslavement and the Transatlantic Slave Trade. This seminar begins with a consideration of the infamous 'plan of a slave ship' by an uncredited British artist and continues through a history of frequently compelling, troubling and engaging images, right up to the present-day. The seminar considers engravings, paintings, sculptures made in different parts of the world and also references images in popular culture, and representations of enslavement in postage stamps, on book covers and so on, with a focus on the work of modern and contemporary artists. The seminar will use a variety of texts, most frequently catalogue essays relating to artists such as Kara Walker, Godfried Donkor, Keith Piper and others who have taken various aspects of enslavement as subject matter for their work. We will watch extracts of representations of enslavement on television, and film works such as Steve McQueen's '12 Years a Slave' and Quentin Tarantino's 'Django Unchained'. Our readings will also include texts by art historians such as Marcus Wood and academics such as Catherine Hall. The texts will demonstrate the extent to which enslavement has always been, and remains, a gripping though uncomfortable subject. Students are required to submit one short 'reaction' paper each week, plus a longer 12-15 page research paper at the end of the semester. The main emphasis of the seminar will be on active class participation.	Class Number 2097	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Class, Race, Ethnicity, Exhibition and Curatorial Studies Location Lakeview - 206
Sculpture Dialogues 2: Reflection and Resiliency for Future Practice	5031 (001)	Nyeema Morgan	Fri 12:15 PM - 3:00 PM In Person
Description Future Practice seminar presents philosophies and practicalities to hone student discipline both in the studio and in the administration of their practice as resilient strategies for a life-long, artistic career. This seminar advances the work of 2nd year sculpture graduate students by critiquing the student¿s entire portfolio ¿ reflecting on past and current work as a means of identifying multiple, narrative arcs and pathways to generate inquiries and ideas for new work. This course aims towards a complexity of practice with that will allow artists to enter and navigate the art world with a diversified portfolio and practice. Students will claim themselves as experts of independent research topics conducted to inform their work and be able to theorize cultural conditions that will determine future practice. Students will present their propositions for practice in a monthly, school-wide colloquia, called Sculpture Dialogues where students present their work along with a visiting artist/practitioner and reflect how sculpture¿s criteria is challenged by the determination and exercise of young sculptors today. 4-5 Readings due during the first 5 classes with lectures, screenings, and public artist talk presentations. Student will review works in three group critiques: portfolio analysis, project proposal, and artist presentation 1. [Systems: Historical Present] Susan Buck Morss, Aesthetics and Anaesthetics: Walter Benjamin's Artwork Essay Reconsidered, October Volume 62, 1992. Part 2. [Systems: History] Silvio Larusso, What design Can¿t Do 3. [Sites: Public Practice] Alexander Nagle, Medieval to Modern 4. [Systems: Environment] Dipesh Chakrabarty, The Climate of History	Class Number 2355	Credits 3	Department Sculpture Area of Study Art/Design and Politics, Community and Social Practice, Exhibition and Curatorial Studies, Public Space, Site, Landscape, Public Space, Site, Landscape, Theory Location 280 Building Rm 032
Graduate Kinetics and Robotics Workshop	5032 (001)	Dan Miller	Thurs 9:00 AM - 3:00 PM In Person
Description In this interdisciplinary Graduate Kinetics and Robotics Workshop course, the main focus is on student development of independent creative research of robotic or kinetic projects, in a setting where students can receive structured group feedback. Early on in the semester, grads will give 20 min artist presentations introducing their practice to the class. Throughout the semester, there would be scheduled individual advising sessions. Additionally, during the semester there will be focused technical workshops driven by the needs of the graduate student¿s creative research. The whole class will come together in scheduled sessions for two structured group critiques of each student¿s artwork. This workshop focuses on your studio work, challenging the way you research, make, present and discuss artwork. Research will be supported by screenings and readings on various artists working in this genre including artists such as Choe U-Ram, Chico Mac Murtrie, Rapheal Lozano-Hemmer. As well as writings from Donna Haraway, and contemporary and historical selections from Leonardo Journal. Additionally, we will look at outcomes from major annual international exhibitions including; ARS Electronica and ISEA, and explore strategies for applying to these venues. Required visiting artists talks and gallery or museum visits will further enrich the course dialogue. Assignments will include readings and online research, artist presentations. Students are expected to participate in a robust discussion around motion-based art. This course will provide the freedom of independent creative exploration framed in the context of developing a robotic or kinetic art project. Each student will be required to develop a creative project that engages concepts and ideas discussed within the course. Students will present these projects for critique throughout the semester.	Class Number 2278	Credits 3	Department Art & Technology / Sound Practices Location MacLean B1-07
Conceptual Approach	5033 (001)	Gaylen Gerber	Wed 12:15 PM - 3:00 PM In Person
Description This critique-based class addresses a wide range of issues as they arise through the direct experience of the students' work. Emphasis is given to the correlation between the declared artistic intent of each student and the reception of those intentions as they are embodied in the artwork. Special attention is paid to clarifying how students' work may be described, contextualized, and documented with the goal of developing a shared critical framework for evaluating a range of different disciplines and approaches that gives students a solid basis to proceed from effectively. The class places an emphasis on extensive experimentation related to studio problems and directions through individual idioms. This course approaches art with a focus on concept, idea, and language rather than percept and expressive intuition. Special reference to contemporary theory including art's use and function is foregrounded. Junior and Senior-level undergraduate students are welcome to enroll in this course, and should email the instructor to seek authorization to register.	Class Number 1962	Credits 3	Department Painting and Drawing Location MacLean 1501
Conceptual Approach	5033 (002)	Gaylen Gerber	Fri 12:15 PM - 3:00 PM In Person
Description This critique-based class addresses a wide range of issues as they arise through the direct experience of the students' work. Emphasis is given to the correlation between the declared artistic intent of each student and the reception of those intentions as they are embodied in the artwork. Special attention is paid to clarifying how students' work may be described, contextualized, and documented with the goal of developing a shared critical framework for evaluating a range of different disciplines and approaches that gives students a solid basis to proceed from effectively. The class places an emphasis on extensive experimentation related to studio problems and directions through individual idioms. This course approaches art with a focus on concept, idea, and language rather than percept and expressive intuition. Special reference to contemporary theory including art's use and function is foregrounded. Junior and Senior-level undergraduate students are welcome to enroll in this course, and should email the instructor to seek authorization to register.	Class Number 1963	Credits 3	Department Painting and Drawing Location MacLean 1501
Fascism and Art	5034 (001)	Annie Bourneuf	Wed 12:15 PM - 3:00 PM In Person
Description This course examines the complex and multifarious relations between art and fascism in the twentieth century, especially the cultural politics and the use of art in fascist movements and regimes; interwar Germany and Italy will provide much of the material we will probe. Exploring Walter Benjamin¿s dictum that fascism practices the ¿aestheticizing of politics¿ and Eric Michaud¿s argument that an ¿assimilation of work into artistic activity¿ lay at the center of the Nazi myth, we will examine the role of art in fascist ideology and the relationship of artistic modernism, avant-gardes, and fascism (to quote Benjamin again: ¿With D¿Annunzio, decadence made its entry into political life; with Marinetti, Futurism; and with Hitler, the Bohemian tradition of Schwabing¿). Art, architecture, film, and media made to support or under the sponsorship of the Mussolini and Hitler regimes will be examined in detail. We will also devote a great deal of attention to early attempts to analyze fascism, reading Benjamin, Bloch, Adorno, Kracauer, Reich, and Bataille, among others. This class is conceived as a collaborative reading group for investigating the intertwining of art and politics in and around counterrevolution, in hopes of getting a clearer view of this intertwining than is afforded when ties between art and emancipatory politics are assumed, so weekly reading, reading responses, and active participation in and co-leading of class discussions are crucial. The class culminates in students planning and completing research papers that substantively engage with early twentieth century histories of fascism and art and may well explore developments outside Nazi Germany or Fascist Italy.	Class Number 2169	Credits 3	Department Art History, Theory, and Criticism Area of Study Art/Design and Politics, Class, Race, Ethnicity Location Lakeview - 1427
Graduate Painting and Drawing Critique Seminar	5035 (001)	Michelle Grabner	Thurs 12:15 PM - 3:00 PM In Person
Description This course examines forms of critique and post critique. It will interpret artwork within contemporary and historical political and philosophical arguments. It will also address and evaluate specific modes of interpretation and critique, including forms shaped by institutional, intellectual, and in some cases vernacular histories. Active participation in discussions and in weekly critiques is expected. Class presentations on selected reading will also be required.	Class Number 1960	Credits 3	Department Painting and Drawing Location MacLean 1501
Collections Management in Museums and Other Collections	5046 (001)	Lela Hersh	Wed 8:30 AM - 11:15 AM In Person
Description This course will teach students to apply principles and practices in collections management. It is intended for those who wish to work in the technical area of museums and with collectors. Collections managers typically focus on registration methods in large museums, but in smaller museums, these professionals might hold simultaneous positions as curators and/or directors. In the for-profit arena registrars work in galleries, auction houses, shipping and insurance companies, with private collectors or own their own business. Students will be exposed to all areas of collection management, from acquisition (accessioning) to de-acquisition (deaccessioning), care for a variety of types of objects, and external influences such as storage, environmental influences, shipping and insurance, and valuation. The main textbook will be Museum Registration Methods - the industry touchstone for collections managers. Timely articles and YouTube screenings will also be introduced with ongoing discussions of ?best practices? as illustrated by a variety of museum Collection Management Policies, Loan Agreements, and Artist Commission contracts. Coursework will include in-class assignments, relevant readings and two projects.	Class Number 1830	Credits 3	Department Arts Administration and Policy Area of Study Exhibition and Curatorial Studies, Museum Studies Location MacLean 112
Management Studio II	5055 (001)		Tues 12:15 PM - 6:15 PM In Person
Description The Management Studio is a space in which to explore 21st century management environments though a practice based investigation of contemporary organizational, project, and leadership models with an eye toward designing frameworks for the future. In addition to investigating so-called traditional management models, students will engage with current cultural management theory and practice around strategic planning, budgeting and capitalization, evaluation, communication strategy, digital communication, public relations, and fundraising (grant writing, individual donors, presentation skills). A distinguishing element of this course is the project-based learning environment. Management Studio integrates skill building projects into the course work for the purpose of practicing and developing individual and groups strategies and approaches to managing change/adaptation and cultural programming; supporting and engaging creativity; leading complex environments; building and understanding networks and connectivity; navigating teamwork, collaboration, self-organization, and problem-solving; and developing innovation practice skills. The projects in the studio are developed with external and internal partners and engage a broad set of skill building opportunities. Students select projects based on interest and a broad set of skill development opportunities. Management Studio II focuses on skills building in the areas of strategy and planning; resource development; working with artists; evaluation and data management; and communication strategy. In addition to team projects, there will be opportunities to cultivate individual concepts. The premise of this course is that participants will be active leaders in shaping the future of cultural/arts management. As such, the course invites broad and active participation and preparation for every class meeting. As a ?hands on? examination of management practice and theory, students are urged to critically engage with the material and to participate in class discussions, projects, presentations and debates. Each student will work on an ongoing project(s) in addition to class preparation to include reading, discussion and presentation. The willingness and ability to collaborate and continue to develop skills in team-based work is an essential element of this course and a core component of grading. Class will generally be divided into two sections or function as workshops. The first section will include workshops and discussions/presentations The second section will include project report outs and project work/discussion. Each project will be developed through the workshops as real time case studies. Prerequisites You must be a Master of Arts in Arts Administration & Policy student to enroll in this course, or by instructor consent.	Class Number 1828	Credits 3	Department Arts Administration and Policy Location MacLean 707
Gathering	5060 (001)	Kamau A. Patton	Mon 6:45 PM - 9:30 PM In Person
Description How, where and why do we gather? In what ways is the impulse to gather informed by histories of exclusion? This seminar is a survey of the myriad ways that communities come together to thrive in times of crisis, assemble in times of celebration, come together around shared concerns and form structures with the capacity to take in and hold energy from scattered places and sources. Is the impulse to gather an innate tendency for humans? What informs our social need for connection, community, and shared experiences? And, how do we manifest this impulse in various forms like social gatherings, rituals, celebrations, or even simply seeking out the company of others? This course will consider forms of hospitality and hosting as well as the politics and protocols of gathering as a form of resistance. In this seminar we will explore methods of facilitating small and large group encounters with a focus on participant experience. We will examine how the structure of a gathering informs the identities, roles, desires and biases that individuals import into the group, as well as the emergence of conscious and unconscious group dynamics. This course will focus on community as form, social context as integral to human interaction and the participatory aspects of experience.	Class Number 1883	Credits 3	Department Visual and Critical Studies Area of Study Collaboration, Community & Social Engagement, Community and Social Practice, Economic Inequality & Class, Interaction and Participation, Social Media and the Web Location Lakeview - 202
Social Theory for Artists	5103 (001)	Adam J Greteman	Thurs 6:45 PM - 9:30 PM In Person
Description This seminar involves readings and discussions of works by twentieth-century social theorists who have had or might have consequences for artists' approaches to their own practices, as well as the interpretation of artistic production in general. It is not intended to be a survey of aesthetic theories, but rather will consider various questions concerning social relations and institutions, as well as basic premises that inform different conceptual approaches to these issues. Students will also read work that deals with the production and consumption of art using particular social-theoretical frameworks. Open to all students senior level and above.	Class Number 2101	Credits 3	Department Art Education Area of Study Art/Design and Politics, Class, Race, Ethnicity, Community & Social Engagement Location Sharp 403
Letterpress Bookworks	5111 (001)	Catherine Ruggie-Saunders	Mon 9:00 AM - 3:00 PM In Person
Description Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content. Instruction encourages an interdisciplinary approach with a thrust toward expanding the medium's boundaries. Lectures and video documentaries provide an historical and cultural context for type design and the printing revolution. A field trip will provide exposure to the expanding applicability of letterpress in contemporary design, as well as exemplars from the past six centuries. Demonstrations will acquaint students with both classical and current approaches to using the tactile voice of letterpress. Students should expect to work with single sheet formats, traditional books, artist's books, and 3-D sculptural multiples, to be presented in group critiques. The studio course may be repeated for credit, with students creating letterpress bookworks through self-initiated projects. Graduate seminar students will pursue an expanded course of study designed to integrate independent research with studio practice. The seminar combines historical study, theoretical discourse, and hands-on practice to explore the invention of printing, the evolution of the book, and the ongoing relevance of letterpress printing in contemporary design and art. By the end of the course, students will design and produce a book that embodies their own artistic thesis voice while demonstrating proficiency in the letterpress craft and an understanding of the book as a cultural object. Prerequisites Prerequisite: VISCOM 2011 or permission of instructor.	Class Number 2164	Credits 3	Department Visual Communication Design Area of Study Books and Publishing, Graphic Design, Narrative Location Sharp 1308
Letterpress Bookworks	5111 (002)	Catherine Ruggie-Saunders	Fri 9:00 AM - 3:00 PM In Person
Description Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content. Instruction encourages an interdisciplinary approach with a thrust toward expanding the medium's boundaries. Lectures and video documentaries provide an historical and cultural context for type design and the printing revolution. A field trip will provide exposure to the expanding applicability of letterpress in contemporary design, as well as exemplars from the past six centuries. Demonstrations will acquaint students with both classical and current approaches to using the tactile voice of letterpress. Students should expect to work with single sheet formats, traditional books, artist's books, and 3-D sculptural multiples, to be presented in group critiques. The studio course may be repeated for credit, with students creating letterpress bookworks through self-initiated projects. Graduate seminar students will pursue an expanded course of study designed to integrate independent research with studio practice. The seminar combines historical study, theoretical discourse, and hands-on practice to explore the invention of printing, the evolution of the book, and the ongoing relevance of letterpress printing in contemporary design and art. By the end of the course, students will design and produce a book that embodies their own artistic thesis voice while demonstrating proficiency in the letterpress craft and an understanding of the book as a cultural object. Prerequisites Prerequisite: VISCOM 2011 or permission of instructor.	Class Number 2171	Credits 3	Department Visual Communication Design Area of Study Books and Publishing, Graphic Design, Narrative Location Sharp 1308
Seminar: Interpretation-Exploring Meaning	5116 (001)		Fri 12:15 PM - 3:00 PM In Person
Description How does a museum label shape our understanding of the art and artist? How do wayfinding signs in a city create an experience of space and place? And how do interpretive signs at memorials, in neighborhoods and city parks omit or celebrate history? In this course students will explore systems of meaning and the roles that artists, educators and institutions play in interpreting, reproducing and transforming culture. Drawing from art history, theory, and criticism students will learn to develop critical pedagogy that explores the role of interpretation as both an institutional and art practice. Students will work in both art collections and in public space to create interpretive materials and forms that consider the dimensions of interpretive work. Course content includes research of museum practices and also critical projects by artists such as Lize Mogel, Center for Land Use Interpretation, Sandra De La Loza, Alexandra Bell, Andrea Carlson, James Luna, Fred Wilson, among others. Prerequisites Open to graduate level students only.	Class Number 1841	Credits 3	Department Art Education Area of Study Art/Design and Politics, Exhibition and Curatorial Studies, Museum Studies Location Sharp 402
Teaching Art at the College Level	5118 (001)	Melita Morales	Wed 6:45 PM - 9:30 PM In Person
Description This course addresses the complexities of teaching a studio art or seminar course at the college level. Various teaching approaches and structures will be explored including leading discussions about ideas and art, conducting critiques, working with diverse groups and individuals, instructional design (curriculum, syllabus, project assignments, etc.) and demonstrating and presenting ideas and materials. We will examine issues related to arts assessment for individuals and for institutions. We will consider evolving conceptions of teaching in different higher education contexts?art schools, liberal arts colleges, community colleges, and research universities. Gain practical knowledge about teaching strategies. Develop your own teaching philosophy, portfolio and curriculum examples. Assemble a 'tool kit' to build your teaching career.	Class Number 1837	Credits 3	Department Art Education Area of Study Class, Race, Ethnicity, Art and Science, Teaching Location Sharp 706
Architecture/Interior Architecture: Graduate Studio 2	5120 (002)	Odile Compagnon	Mon/Thurs 9:00 AM - 3:00 PM In Person
Description This introductory design studio introduces a broad range of investigative techniques and applies the results to the design of a multi- level environment designed from the inside to the outside. Course Goals and Objectives 1) Integrate ideas about enclosure and envelope with scale, site, structure, program and form, experimenting with skin effects and affects as a generator of a design, adapting an existing building, and addressing the existing building envelope. 2) Investigate the design of building skins including design, technical, structural, environmental, and social performance, ranging from cultural questions to accessibility, through the conceptual design of a small public building. 3) Develop design and graphic skills by completing the conceptual design of a small public building with a complex program, producing architectural drawings and models at an accomplished level, demonstrating a command of drawing and modeling conventions and an ability to manipulate those conventions to convey ideas relevant to a particular design idea. 4) Demonstrate awareness of the role of accessibility and sustainability in the design process. Student and program criteria that address the most recent National Architectural Accreditation Board (NAAB) requirements will be highlighted and form part of the coursework outcomes. Prerequisites You must be a Master of Architecture student to enroll in this course.	Class Number 1871	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1234
Critical Terms in Modern Architecture	5122 (001)	Alejandro Saldaña Perales	Fri 12:15 PM - 3:00 PM In Person
Description This course examines the formation and circulation of six key terms of modern architectural production and criticism: site, material, structure, detail, program, and environment. Focusing on the period between 1850 and 2000 in the English-speaking world, we will consider how these terms were shaped by the colonial encounter, French and German critical discourse, as well as enmeshed in specific media (e.g. print, radio, tv). Readings vary but typically include core texts by 20th century critics, theorists, and historians like Nikolaus Pevsner, Sigfried Giedion, Reyner Banham, Colin Rowe, Alessandra Ponte, Beatriz Colomina, and Mark Wigley. Discussions also tend to engage projects and texts by Le Corbusier, Richard Neutra, Charles and Ray Eames, Louis Kahn, Zaha Hadid, and Bernard Tschumi. Course work will vary but typically demands active participation in online and in-class discussions, as well as short essays on a contemporary architectural project of the student's choosing culminating in a 4000-word review essay.	Class Number 1846	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1427
Studio Techniques	5122 (001)	Aubrie J. Meyer	Wed 9:00 AM - 3:00 PM In Person
Description Students approach cloth as a medium: methods of handling, joining, and manipulating fabric, as well as concepts and methods of defining and finishing edges, enclosures, and openings. Foundational draping techniques involve manipulating a flat piece of material in the three-dimensional form of the body and then transferring this original design to the flat pattern, or block. The development of a basic set of blocks (slopers) defining a 3-dimensional form becomes the foundation to generate variations and options using flat pattern design. The importance of weave and material characteristics, as they apply to design are investigated. Students engage with form and volume on the body through combined draping and drafting methods, such as reshaping areas of an existing form, as well as manipulating fabric prior to molding it to the body, and they study hand- and machine- finishes to achieve sculpting and manipulating cloth.	Class Number 1891	Credits 3	Department Fashion Design Location Sullivan Center 707
Arch/Inarch: Structures 1	5123 (001)	Lee Fritz, Daniel Swiatek	Wed 8:30 AM - 11:15 AM In Person
Description Introduces building materials and assesses their applications with parametric tools. Addresses topics related to the strength of materials and design of structural components and systems. Course Goals and Objectives 1) Understand the role that materials play in design decisions developed through a series of case studies of historic and contemporary buildings. 2) Communicate understanding of material performance in technical drawings, through plans, sections, wall sections and details. 3) Make parametric software tools that analyze technical performance, embodied energy and life-cycle performance. 4) Understand and use structural concepts such as the distribution of concentrated and uniform loads, vertical loads, lateral loads, and the design of members in wood, concrete and steel. Student and program criteria that address the most recent National Architectural Accreditation Board (NAAB) requirements will be highlighted and form part of the coursework outcomes. Prerequisites You must be a Master of Architecture student to enroll in this course.	Class Number 1873	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1233
Arch/Inarch: Structures 1	5123 (001)	Lee Fritz, Daniel Swiatek	Wed 8:30 AM - 11:15 AM In Person
Description Introduces building materials and assesses their applications with parametric tools. Addresses topics related to the strength of materials and design of structural components and systems. Course Goals and Objectives 1) Understand the role that materials play in design decisions developed through a series of case studies of historic and contemporary buildings. 2) Communicate understanding of material performance in technical drawings, through plans, sections, wall sections and details. 3) Make parametric software tools that analyze technical performance, embodied energy and life-cycle performance. 4) Understand and use structural concepts such as the distribution of concentrated and uniform loads, vertical loads, lateral loads, and the design of members in wood, concrete and steel. Student and program criteria that address the most recent National Architectural Accreditation Board (NAAB) requirements will be highlighted and form part of the coursework outcomes. Prerequisites You must be a Master of Architecture student to enroll in this course.	Class Number 1873	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1233
Doing Democracy	5125 (001)	Adam J Greteman	Thurs 12:15 PM - 3:00 PM In Person
Description What egalitarian ideals have shaped our conception of public education? How has the promise of democratic schools been undermined by white privilege, racism, class-based discrimination, inequitable funding, colonialism, patriarchy, and disregard for the human impact on the natural world? This course builds a foundation for understanding the politics of schooling by exploring the struggle for democratic education in Chicago, contextualized by contemporary global decolonial practices in education. Students will consider how shifting conceptions of schooling are responses to the contemporary cultural moment¿recognizing how curriculum supports the beliefs and needs of the status quo as well as how curriculum might critique and propose new ways of being as individuals and as societies. The course explores a broad range of histories, philosophies, and approaches to schooling, including Freedom Schools, Native American boarding schools, transformative justice in education, play and free child movements, teacher-led movements, environmental studies, and the fight to defend ethnic studies programs as well as attempts to re-segregate and privatize public schools. Artists, designers and scholars to be studied include Tonika Lewis, Eve Ewing, Elizabeth Todd-Breland, Jose Resendiz, Borderless Studios, Interference Archive and Alexis Rockman. Readings from the field of art education by Doug Blandy, Laurie Hicks, and Mark Graham will trace the emergence of eco-art and place-based art education curriculum. Field trips include visits to school sites, Chicago Board of Education meetings and exploration of CBOE archives. Course assignments include short response papers and course readings. Students conduct and report on six hours of observations in schools, sites of school decision-making, and in places where people attempt to build democratic processes related to schools. Students will conduct independent research on topics related to contemporary issues and schooling. Each student will prepare and present a culminating project proposal for a school whose curriculum and structures address their political and social concerns and pedagogical vision. Prerequisites Prerequisite: Open to MAAE or MAT students only or with permission of instructor.	Class Number 1876	Credits 3	Department Art Education Area of Study Art/Design and Politics, Community & Social Engagement, Teaching Location Sharp 402
Advanced Design Principles	5130 (001)		Tues 9:00 AM - 3:00 PM In Person
Description (In this co-taught studio), students are combining the conceptual and functional principles as they build full silhouettes as prototypes for a capsule mini-collection they have designed. The principles of shape, balance and proportion of the garment are emphasized as students adapt a silhouette from original design sketch to cloth. Through muslin- fittings on a fashion model, students clarify shape, details, volume, and finishes to complete looks through fully materialized garments. Prerequisites Student must have completed FASH 5110	Class Number 2078	Credits 6	Department Fashion Design Location Sullivan Center 701
Research Methods Seminar	5152 (001)		Mon 6:45 PM - 9:30 PM In Person
Description Research is the foundation of an informed design process and this lab helps students understand the ways in which research can add value to the practice of design. Students will be introduced to a variety of methods, strategies, frameworks and tools for the capturing, synthesis and translation of varied research material. By demonstrating how primary and secondary methods can be utilized, this class provides a practical guide to navigating the ways in which research can be integrated into the design process as a source of inspiration, a method of knowledge building, and a means of testing assumptions. You must be a Master of Design in Designed Objects student to enroll in this course. Readings and references will vary but have included: Design Research Through Practice: From the Lab, Field, and Showroom, Ilpo Koskinen, John Zimmerman, Thomas Binder, Johan Redstrom, Stephan Wensveen, Elsevier, 2011 Interviewing Users: How to Uncover Compelling Insights, Steve Portigal, Rosenfield, 2013 Mapping Experiences: A Complete Guide to Creating Value through Journeys, Blueprints, and Diagrams, Jim Kalbach, Research for Designers: A Guide to Methods and Practice, Gjoko Muratovski, Sage, 2016' Each class will typically consist of a lecture, discussion, critique, and/or in-class activities followed with assignments to be completed by the next class. Readings will be assigned to supplement lectures and inform discussions.	Class Number 2215	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1228
Truth/Perception/Story-telling in Artist's Books	5191 (001)	Alex Karenina Kostiw	Tues 9:00 AM - 3:00 PM In Person
Description Stories are a fundamental way that we share and understand information to make meaning. Storytelling, then, is in part an investigation of 'truths'--of various realities that shape how we see the world. The intersection of content, internal narrative structure, and physical form, storytelling can illuminate 'truths' in ways that cause us to more deeply examine our perceptions, ideas, and beliefs. This course focuses on notions of truth in expression: how a fictional approach can express emotional truths; how multiple and contradictory views of a situation can reveal a truth; and how perceptions and beliefs can be called into question through story construction. A selection of readings and works, as well as visits to the Joan Flasch Artists' Book Collection, will provide examples of traditional vs. nontraditional, linear vs. nonlinear, and fiction vs. nonfiction narratives. Together with exercises in paper-based forms, they are starting points for exploring physical structures, methods, and devices of narrative discourse. In 3-4 projects, students will develop their own narrative content, construct stories through image and/or text, and experiment with possibilities in narrative structure and form, whether paper-based or in other media. Graduate seminar students will additionally investigate works in a variety of narrative traditions that connect with their practices and lead critical discussions of their research. Prerequisites Prerequisite: VISCOM 3001	Class Number 2160	Credits 3	Department Visual Communication Design Location Sharp 1217
Designer-Citizen	5292 (001)	Michele Y Washington	Mon 9:00 AM - 3:00 PM In Person
Description Critical pedagogy seeks to transform consciousness, to provide students with ways of knowing that enable them to know themselves better and live in the world more fully. In this course, we are committed to making a difference. We explore how design can be used to develop real-world projects that address issues rooted in social impact. Our classroom operates as an exploratory lab immersed in liberatory practices and participatory design techniques to craft solutions grounded in the principles of equity, empowerment, dignity, and justice. We will examine what it means to be a designer-citizen through a transdisciplinary lens, drawing upon inspiration from the work of various architects, designers, artists, activists, scholars, urbanists, and writers. Projects are centered around collaborative community engagement. In critiques and discussions, you will be challenged to interrogate art, design, and digital spaces, foster inclusivity, and empower communities. By the end of the course, you will have developed projects that embody the principles of social impact design -- more importantly, advancing your understanding of liberatory and participatory practices, empowering you to make real-world differences as artists, designers, and changemakers. Graduate seminar students will be encouraged to think about the course title as an open-ended question and form of further interrogation -- what is design¿s relationship to liberatory practices? What is design's relationship to social change? -- and develop their own answers to that question through research, writing, and studio practice. Using case studies as a point of reference and departure, students will explore the relationship between design, liberatory practices, and social change in their own practices and write a designer-citizen¿s manifesto.	Class Number 2166	Credits 3	Department Visual Communication Design Location Sharp 1217

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