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This course provides an introduction to clay as a material. Participants will be introduced to a wide variety of methods and techniques to build, decorate, and glaze ceramic. Demonstrations in Hand-building, coiling, slap-building and surface application including glaze development and application, slip decoration and firing methods, will give students a proficiency in working with clay and in the ceramic department. Introductions to the rich and complex history of ceramic through readings, lectures and museum visits, will provide students with exposures to the critical discourse of contemporary ceramic. This is primarily a beginner's course but open to all levels of students. Readings will vary but typically include, Hands in Clay by Charlotte Speight and John Toki. Vitamin C: Clay and Ceramic in Contemporary Art by Clare Lilley. Ten thousand years of pottery by Emmanuel Cooper. 20th Century Ceramics By Edmund de Waal. Live Form: Women, Ceramics, and Community by Jenni Sorkin. The course will look at artist like Magdalene Odundo, George E. Ohr, Shoji Hamada, Roberto Lugo and Nicole Cherubini as well as historic ceramic from the Art Institutes of Chicago?s collection. Students are expected to complete 3 projects by the end of the semester, Biweekly readings will be part of the course.

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.

Fernando Pessoa in Lisbon, Virginia Woolf in London, Frank O'Hara in New York City; writers, philosophers and artists of all kinds have long created, expanded, and contracted the self through the act and practice of walking. We will spend this semester reading and writing texts structured around the movement of the self in the city and country, at home and away, considering both content and representations of the body in space. We will look at authors, filmmakers and conceptual artists from a range of linguistic and cultural backgrounds to ask: What kind of literary devices does the author use? How does the tone/style contribute to the work as a whole? How does the text build, sentence by sentence or scene by scene? Are specific images repeated and/or used differently throughout the work? Students should expect to write 15-20 pages of formal, revisable writing.

Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.

In this painting, drawing, and writing studio-symposium, we will explore the city by visiting the studios of working artists. Students will expand their conceptual and technical artmaking repertoire as well as develop college-level writing skills, using studio visits as inspiration for fine art and writing assignments alike. Our group ventures will acclimate students to our windy city and offer an insider perspective into the creative vibrancy of Chicago as we head to various neighborhoods beyond our downtown campus. From source material and research to query and concept to process and technique, each and every artist makes and thinks about their work differently. Our studio visits will afford students the opportunity to experiment and innovate for themselves based on their experiences in each artist's space. Writing assignments will be based primarily around artistic practice and analysis of artworks. We will read short writings by Langston Hughes, Twyla Tharp, Scott McCloud, Bernard Cooper, Margaret Atwood, G.K. Chesterton, Maya Lin, and Vincent van Gogh, among others. In addition to short writing assignments and in-class journals, students should expect to write and revise 3 main essays totaling 15-20 of formal prose. In-class studio/making time will be punctuated by one-on-one meetings and informal interim critiques. The course will culminate in a final critique of the series of works students produced over the course of the summer.

In this painting, drawing, and writing studio-symposium, we will explore the city by visiting the studios of working artists. Students will expand their conceptual and technical artmaking repertoire as well as develop college-level writing skills, using studio visits as inspiration for fine art and writing assignments alike. Our group ventures will acclimate students to our windy city and offer an insider perspective into the creative vibrancy of Chicago as we head to various neighborhoods beyond our downtown campus. From source material and research to query and concept to process and technique, each and every artist makes and thinks about their work differently. Our studio visits will afford students the opportunity to experiment and innovate for themselves based on their experiences in each artist's space. Writing assignments will be based primarily around artistic practice and analysis of artworks. We will read short writings by Langston Hughes, Twyla Tharp, Scott McCloud, Bernard Cooper, Margaret Atwood, G.K. Chesterton, Maya Lin, and Vincent van Gogh, among others. In addition to short writing assignments and in-class journals, students should expect to write and revise 3 main essays totaling 15-20 of formal prose. In-class studio/making time will be punctuated by one-on-one meetings and informal interim critiques. The course will culminate in a final critique of the series of works students produced over the course of the summer.

In this filmmaking, animation, installation, and writing studio-symposium, we will investigate a city in motion through the moving image, the written word, and firsthand exploration. Students will expand their conceptual and technical filmmaking repertoire as well as develop college-level writing skills, using Chicago itself as inspiration for a range of media-driven projects and writing assignments. Activities will include field trips to local Chicago studios and art installations to help inspire our work. This is also a studio writing class in which we will focus on writing as a process. We will freewrite, learn to close read images and texts, formulate lines of inquiry and conceptual questions that drive our claims and arguments, and develop ideas that matter. Students can expect to compose and revise 15-20 pages in multidraft formal writing assignments in addition to homework and in-class writing.

Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class.

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.

Generative art, resulting from creative practices involving automation and artificial intelligence, has existed for decades if not centuries. Already in 1970, the School of the Art Institute of Chicago created a department called Generative Systems to study and experiment with art practices harnessing new technologies. Still, with the recent release of powerful text-to-image generators and natural language processors, many are celebrating, dreading, and warning of a brave new world where machines can automatically create art" which once would have required countless hours of human labor, experience, and courage. "We're Witnessing the Birth of a New Artistic Medium," reported The Atlantic in September 2022. In November, The Guardian asked, "When AI can make art � what does it mean for creativity?" Artists were understandably outraged when an AI-generated artwork, Th��tre D'op�ra Spatial won first place for digital art in the Colorado State Fair's fine arts competition. Together we'll experiment at the intersection of technology and art, exploring what it means to make art when algorithms can automate parts of the creative process. Whether you believe that auto-generative AI democratizes or dehumanizes artistic creation, rather than dismiss or fight an inevitable future of auto-generative artificial intelligence in art, we'll discover how emergent technologies can enhance human creativity and promote humane artistic practices. FYS II develops college-level writing skills, preparing students for upper-level Liberal Arts courses. Students will create original research (and textual art) around topics including authenticity, mimesis, copyright, autonomy, automation, (non)human creativity, and the evolving markets for artistic work. We'll develop and refine the writing skills learned in FYS I while experimenting with generative writing and research methods. Students will leave this course with a portfolio of original, publishable writing, as well as a foundational grasp of the history and futures of generative art. Readings and screenings may vary but will focus on pioneers in the creation, curation, and market of generative art. Some of the scholars and artists we will engage with in this course include Sonia Landy Sheridan, Georg Nees, Frieder Nake, Vera Moln�r, Margaret Boden, and Francesca Franco. Students will create 20-25 pages of formal, revisable, and publishable writing across three short essays and two in-depth revisions. Students will also learn to write a research paper, using scholarly constraints to enhance creativity."

This class is geared toward students-at-large who are veterans of thee US military. Students will learn the fundamentals of sculpture, ceramics and photography and examine them in a conceptual context. They will then use these resources to express their military experience through these art forms. Emphasis will be on process, exploration, and discussion. The class will be taught primarily by US vet Richard Casper with supplemental instruction from SAIC faculty in Ceramics and Photography

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.

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.

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.

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.

In this filmmaking, animation, installation, and writing studio-symposium, we will investigate a city in motion through the moving image, the written word, and firsthand exploration. Students will expand their conceptual and technical filmmaking repertoire as well as develop college-level writing skills, using Chicago itself as inspiration for a range of media-driven projects and writing assignments. Activities will include field trips to local Chicago studios and art installations to help inspire our work. Writing assignments will be based primarily around artistic practice, analysis of artworks (including film, animation, and architecture), and self-reflection. We will read short writings focusing on public and private places by authors such as Bernard Cooper, Charles Siebert, Jacqui Shine, Zadie Smith, and Mark Strand. For the media projects, we will look at narrative and experimental filmmakers/video artists such as Chris Marker, Apichatpong Weerasethakul, Maya Daren, Laurie Anderson and Hito Steyerl. In addition to short writing assignments and in-class journals, students should expect to write and revise 3 main essays totaling 15-20 pages. In-class studio time will include an exploration of the moving image, utilizing film, video and editing software The course will culminate in a final critique of the final project and paper that students produced over the course of the summer.

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.

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.

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.