Kwame Gomez
Undergraduate Overview
Painting & Drawing Undergraduate Overview
With up to 80 courses offered in the Department of Painting and Drawing, it’s clear why the School of the Art Institute of Chicago (SAIC) is one of the leading schools for painting and drawing in the country. Students pursuing a bachelor’s degree in fine arts have the choice, freedom, and openness to design a painting and drawing curriculum tailored to their creative needs. Through rigorous course studies, students develop the skills and conceptual foundations necessary for a sustainable art practice.
One of the Best Painting Schools in the US
The department’s unique and experimental approach to learning challenges students to explore a wide variety of courses designed to help them grow as artists.
Courses include:
1. Painting Practice Classes: This is an introductory prerequisite course for all other painting classes. It is taught by a variety of faculty, each with their own unique teaching style. Students learn the fundamentals of painting with a strong emphasis on developing proficiency with fundamental formal and material processes. Students also become familiar with various forms of visual and critical engagement in order to catalyze their conceptual development.
2. Painting Studio: Multi-Level Classes: These classes offer a fertile environment for the development of individual practice while advancing technical skill. General sections are open to students who have completed Painting Practice. Advanced, topic-based sections are also available. Topics include, but are not limited to:
- The Abstract Image
- Cheap TV
- Conceptual Approach
- The Dream
- Exploding Paint
- Expressionism
- Funny Painting
- Painting after Painting
3. Studio Drawing: Multi-Level Classes: Taught by a diverse group of faculty who approach drawing with critical rigor, students learn and develop drawing fundamentals. They also explore experimental, narrative, and conceptual approaches with different media. General sections, as well as specialized, topic-based sections are available without prerequisite course requirements. Topics include, but are not limited to:
- Wild Combination
- Mixed Media
- Abstraction/Representation
- Ink Painting: the Brush of Zen
- Large Format Painting
- Collage: Concepts and Techniques
- Landscape Narratives
In addition to fundamental skill-building courses, undergraduate students are encouraged to explore drawing and painting courses in areas that drive their practice forward. These include figure drawing and painting, materials and techniques, comics, and more.
Figure Drawing and Painting Classes
Dedicated to the study of the body, these classes prioritize various approaches to the line, shape, volume, and anatomy of the human form. Approaches range from perceptually traditional to radically conceptual. Topics include, but are not limited to:
- Anatomy
- Figures in Space
- Large Format
- The Portrait
- Advanced: Inside and Out
- Advanced: Narrative Figuration
- Advanced: Photo to Memory
Materials and Techniques Classes
These courses in painting, offered in our new state-of-the-art StudioLab, focus on the production, preparation, and application of various traditional and contemporary paint systems. Students have the opportunity to make their own paints and drawing materials, such as:
- Egg tempera
- Gesso
- Casein
- Encaustic
- Oil paint
- Advanced acrylic processes
- Silverpoint
- Conte-crayon
- Walnut ink
Students are also encouraged to develop their own material processes and recipes.
Comics Classes
These courses are taught in classrooms dedicated to the specific needs of comic production. They cover aspects of narrative development, cell layout, illustration, zine creation, and a variety of other approaches. Topics include, but are not limited to:
- Autobiography
- Advanced Comics
- Capstone: Publish or Perish
- Cartooning the Figure
- Drawing Outside the Boxes
- Independent Comics
Sophomore Seminars, Professional Practices, and Senior Capstone Classes
The Academic Spine is a required three-course sequence for all undergraduate degrees. The three courses provide a structure of peer support and intensive faculty mentoring as students navigate SAIC’s open curriculum. Learn more about the Academic Spine.
Advanced Painting Studio: Each semester, advanced students can apply to one of two sections of Advanced Painting Studio. Students share dedicated, private studio spaces from one to three consecutive semesters, working with faculty members three days per week. In many ways, this highly competitive course begins to approach the intensity of a graduate program, requiring dedicated independent studio practice and rigorous conceptual development.
Summer Institute: Painting Residency/Drawing Residency: These three-week summer intensives are taught in the Advanced Painting studios. Offering a residency experience, students are provided with an individual studio space and instruction from two faculty members. While studio practice is primary, topical lectures and periodic visits to the Art Institute of Chicago are a consistent attribute of the course.
Work by Painting & Drawing Students
Students have a variety of opportunities to exhibit their work, including in the fall and spring undergraduate and graduate exhibitions celebrating the culminating work of graduating students.
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Image
Jayden Vie, Spring Undergraduate Exhibition 2025
Jayden Vie, Spring Undergraduate Exhibition, 2025 Image
Spring Undergraduate Exhibition 2025
Spring Undergraduate Exhibition, 2025 Image
Spring Undergraduate Exhibition 2025
Spring Undergraduate Exhibition, 2025 Image
Spring Undergraduate Exhibition 2025
Spring Undergraduate Exhibition, 2025 Image
Spring Undergraduate Exhibition 2025
Spring Undergraduate Exhibition, 2025
Admissions Requirements & Curriculum Overview
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To apply to the School of the Art Institute of Chicago (SAIC), you will need to fill out an application and submit your transcripts, artist's statement, and letters of recommendation. And most importantly, we require a portfolio of your best and most recent work. The portfolio will give us a sense of you, your interests, and your willingness to explore, experiment, and think beyond technical art, design, and writing skills.
In order to apply, please submit the following items:
Bachelor of Fine Arts in Studio Portfolio
Submit 10-15 pieces of your best and most recent work. We will review your portfolio and application materials for merit scholarship once you have been admitted to SAIC.When compiling a portfolio, you may concentrate your work in a single discipline or show work in a breadth of media. The portfolio may include:
- Drawings
- Prints
- Photographs
- Paintings
- Film
- Video
- Audio recordings
- Sculpture
- Ceramics
- Fashion designs
- Graphic design
- Furniture
- Objects
- Architectural designs
- Websites
- Video games
- Sketchbooks
- Scripts
- Storyboards
- Screenplays
- Zines
- Or any combination of the above.
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Studio
69
- CP 1010 Core Studio Practice I (3)
- CP 1011 Core Studio Practice II (3)
- CP 1020 Research Studio I (3)
- CP 1022 Research Studio II (3)
- SOPHSEM 2900 (3)
- PROFPRAC 39XX (3)
- CAPSTONE 49XX (3)
- Studio Electives (48)
Art History
15
- ARTHI 1001 World Cultures/Civilizations: Pre-History—19th Century Art and Architecture (3)
- Additional Art History Course at 1000-level (e.g., ARTHI 1002) (3)
- Art History Electives at 2000-, 3000-, or 4000-level (9)
Liberal Arts
30
- ENGLISH 1001 First Year Seminar I (3)
- ENGLISH 1005 First Year Seminar II (3)
- Natural Science (6)
- Social Science (6)
- Humanities (6)
- Liberal Arts Electives (6)
- Any of the above Liberal Arts or certain AAP or EIS
General Electives
6
- Studio, Art History, Liberal Arts, AAP, or EIS
Total Credit Hours
120
* BFA students must complete at least two classes designated as "off campus study." These classes can also fulfill any of the requirements listed above and be from any of the divisions (Art History, Studio, Liberal Arts, or General Electives).
BFA in Studio with Thesis Option (Liberal Arts or Visual Critical Studies): Students interested in pursuing the BFA in Studio with the Thesis Option (Liberal Arts or Visual Critical Studies) should contact their academic advisor for details about eligibility, program requirements, and the application process.
Total credits required for minimum residency
66
Minimum Studio credit
42
Learn more about applying to SAIC's Bachelor of Fine Arts in Studio, or view our portfolio preparation guide for more information.
Course Listing
| Title | Catalog | Instructor | Schedule |
|---|---|---|---|
| Painting Practice | 2001 (001) | Jessica Jackson Hutchins | Mon
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (002) | Julieta Beltrán Lazo | Mon
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| 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 |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (004) | Shanti Grandhi | Tues
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (005) | Tony Santuan Williams | Tues
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (006) | Erin Washington | Tues
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (007) | Charlotte Saylor | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (008) | Tyson Reeder | Thurs
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (009) | Xiaohan Jiang | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (010) | George D Johnson | Fri
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (011) | Dylan Rabe | Fri
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (002) | Cassidy Ott | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics: Making Comics from Life: Autobiography, Me | 2002 (003) | Marnie Galloway | Thurs
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics:Drawing Outside The Boxes | 2002 (004) | Jeffrey David Brown | Tues
9:00 AM - 3:00 PM In Person |
Description
It can be easy for students to become so focused on the final product of art making that they lose sight of the importance of process. To that end, this studio class aims to encourage students to play and experiment within the medium of comics, creating projects with methods they wouldn?t normally use, and avoiding the urge to fall back on their usual or expected ways of working. Students will not need to worry about making a great piece of art, and instead can learn more about their own art practice and what does or doesn?t work for them.
This class will look at a variety of artists, genres, and forms in the comics medium. The types of comics investigated may include everything from traditional superhero genre comics, to handmade art comics, graphic novels, abstract comics, newspaper gag comics, and even content that may or may not be considered comics, depending on how one defines ?comics.? Students will also be encouraged to share their favorite comics or whatever they?re currently reading, and to look into books and comics they aren?t familiar with. After casual critiquing of the previous week?s work, each class begins a new project or exercise that starts with a prompt or general parameters, which students use as starting points to follow in whatever direction interests them. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (005) | Cecilia Beaven | Tues
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (006) | Bianca Xunise | Tues
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics: Remote | 2002 (007) | Aaron Renier | Tues
6:45 PM - 9:30 PM All Online |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (008) | Wed
9:00 AM - 3:00 PM In Person |
|
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics: Play, and Process | 2002 (009) | Sophie Goalson | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course explores comics as a space for play, exploration, and critical inquiry. Students will engage with drawing and writing as intertwined practices, using comics to examine memory, thought, and storytelling. Through a mix of diary comics, experimental exercises, and structured assignments, students will challenge their own ideas of what makes a comic a comic and develop a personal approach to the medium. In addition to making work, students will read and discuss texts by artists and thinkers. Selected readings include works by Lynda Barry, Cintra Wilson, Julia Kristeva, Jean Little, Lela Lee, J. Jefferson Farjeon, Allie Brosh, and others. These texts will serve as a foundation for discussions on creativity, nonlinear storytelling, and the relationship between image and text. The class will also consider how comics operate as both personal expression and cultural commentary, thinking critically about the ethics of storytelling, subjectivity, and artistic voice. Students will produce a body of work over the course of the semester, including weekly exercises, process-based experiments, and a final project that explores comics as a mode of thinking. Regular critiques will focus on development rather than refinement, reinforcing the idea that comics are a process rather than a product. No prior drawing experience is required¿only a willingness to engage in playful, iterative, and messy creation.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics: Idea to Execution | 2002 (011) | Sara Varon | Wed
9:00 AM - 3:00 PM In Person |
Description
Good stories can come from anywhere, and any story can be interesting no matter the subject matter. This class will focus on the best way to create concepts for stories and how to properly execute them, with a strong emphasis on writing, revision, using the proper tools, artistic process and drawing technique. Students will complete short, one to two page stories each week, while also working toward three six to eight page stories that will be compiled into their own printed comic at the end of the semester. Various comic samples will be provided from a range of diverse sources. Short story assignments will be assigned in the beginning of the semester that will focus on specific aspects of making comics (i.e. perspective, using reference, creating mood, etc). Students will also be making three longer stories that will be compiled into one comic at the end of the semester.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics: Comics of The Self: From Autobiography to | 2002 (013) | Sam Sharpe | Fri
9:00 AM - 3:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentLocation |
| Figure Drawing: Multi-Level | 2030 (001) | Ruth Poor | Mon
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (003) | Sheridan Gustin | Tues
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (004) | Sebastian Thomas | Tues
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (005) | 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 |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (007) | Emma R Stine | Thurs
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (008) | Kaylee Rae Wyant | Thurs
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| 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.
PrerequisitesPrerequisite: PTDW 2030. |
Class Number |
Credits |
DepartmentLocation |
| 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. PrerequisitesPrerequisite: PTDW 2030. |
Class Number |
Credits |
DepartmentLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| Studio Draw: Visual Archives and Artists¿ Collecti | 2040 (003) | Kaylee Rae Wyant | Tues
3:30 PM - 9:15 PM In Person |
Description
This course invites students to become collectors. Looking at the personal collections of artists like Georgia O¿Keeffe, Ray Yoshida, Christina Ramberg, and Roger Brown, students will learn how to use the act of collecting as a tool for invention in their studio practices. With class excursions to flea markets, museums, and nature trails, students will have multiple opportunities to gather and document a range of visual ephemera. Course activities will center on the development of visual archives, including developing strategies for collecting, documenting, organizing, and displaying material. Students will keep a sketchbook/journal with writings and drawings of collected material. Weekly drawing exercises will help synthesize their observations to develop a unique visual vocabulary. By asking students to, as Barbara Rossi put it, ¿notice themselves noticing the world,¿ collecting becomes a strategy for self-reflection as well as a means for developing thoughtful connections to the material world around them.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (004) | Tyson Reeder | Wed
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (005) | David R. Harper | Wed
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (006) | Matt Morris | Thurs
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (007) | Herman Aguirre | Thurs
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (008) | Jaclyn Gaye Mednicov | Thurs
3:30 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (009) | Noah Rorem | Fri
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Std Draw:Large Format | 2040 (010) | Steven Husby | Fri
9:00 AM - 3:00 PM In Person |
Description
How big is big? Does the size of a drawing alter our ideas of what we?re about while we?re producing it? How do relationships of internal scale alter our sense of the surrounding space, and how do the sizes of the materials and the support alter our own awareness of scale? In this course we will explore the potential for large format drawing in the perceptual, material, narrative and conceptual senses. We will work towards expanding notions of Large, Format, Studio and Drawing. We will work towards specificity and developing each student's individual concerns. Bring your ambition, you'll need it.
Most time in class will be spent working on studio projects, which will be supplemented by museum visits, slide lectures, student led reading discussions and presentations, and in depth critique. Readings and artists looked at will vary, but will typically include texts which attempt a broad overview of the state of drawing within the field of contemporary art like Vitamin D2 and Drawing Now: Eight Propositions, and include contemporary artists working with drawing at ambitious scale such as Toba Khedoori, Amy Sillman, and William Kentridge, and more historical examples like Willem de Kooning, Cy Twombly, Lee Krasner, and Jasper Johns. There will be a long form mid-term critique and a shorter final critique. Students will be expected to complete multiple large scale works for each. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (011) | Emily M Miller | Tues
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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. PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| 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. PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| 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. PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Repertoire | 2900 (68S) | 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.
PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| 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.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (002) | Sam Jaffe | Mon
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (003) | Jessica Jackson Hutchins | Tues
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (004) | Jo Hormuth | Tues
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (005) | Paul Heyer | Tues
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (006) | Pedro Montilla | Tues
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (007) | Karen Azarnia | Wed
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (008) | Steven Husby | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (009) | Susan Kraut | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (010) | Noah Rorem | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (011) | Rush Baker IV | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (012) | Robert Burnier | Fri
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B:Ink Paint:Brush Zen | 3002 (001) | Su Kaiden Cho | Fri
9:00 AM - 3:00 PM In Person |
Description
This class will begin with an introduction to the basics of ink and brush painting (Sumi-e), learn how to use tools, materials and developing ideas and techniques for creating paintings. An introduction to the Eastern philosophy of Zen will be made as well as the basic practice of Zen meditation, concentration, self-reflection, and inner strength building. Students will develop basic skills of the ink medium; they will be encouraged to explore their creativity through meditating and experimenting within the possibilities of the ink medium.
Two slides presentations will be given for the class: Slides presentation A: A brief history of bamboo paintings. Study of works by old masters: Wen Tong (1018-1079), Ke Jiusi (1290-1343), Zhen Xi (1693-1765, one of eight eccentrics of Yangzhou School, his theory and practice) Shi Tao (1641-1707, a master of Huang Shan School), Pu Hua (1836-1911, a Shanghai master of the late 19th century. Slides presentation B: An introduction of comparative study to Chinese modern and contemporary ink painting. Works by Qi Bai Shi (1863-1957), Lin Fengmian (1900-1991), Li Jing (born: 1958), Chai Yiming (born: 1965) and others artist's works will be showed and discussed. Besides weekly assignments, a body of work (approximate 10 pieces in fair sizes) and an artist statement are needed to be presented at final critique. PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| 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. PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio: Remote | 3003 (001) | Daniel Robert Gunn | Wed
6:45 PM - 9:30 PM All Online |
Description
This course investigates strategies to develop and maintain a painting practice within the context of a home or off-campus studio. Painting materials, application, color, form, and contemporary and traditional methodologies will all be examined. Focus will be given to the development of safe home studio practices. Designed to accommodate many skill levels, students will explore various creative strategies through a skill-based curriculum as well as individual projects
Lectures and assignments will focus on developing a home studio practice, as well as contemporary painting in general. Students will review a wide variety of current and past painters, with emphasis placed on diversity and recontextualization of the traditional canon. PTDW/StudioLab-developed content for a safe home studio practice, including readings and video tutorials, will be shared and explored. Other critical readings may be assigned at the discretion of the faculty. The course leaves room for differing approaches by section and faculty, much like a Multi-level Painting course, but with an added focus on home studio practice. Course work will vary by section, but will typically include a mixture of short, focused studio assignments, in combination with longer, individually driven projects. Critiques and one-on-one discussion will occur throughout the semester, culminating in a final critique, based on work created throughout the semester, or on a culminating independent project. Readings and tutorials on home studio practice will be assigned throughout the semester as needed. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Painting A: Multi-Level | 3030 (002) | Sheridan Gustin | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.
Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Painting A: Multi-Level | 3030 (003) | Melinda Whitmore | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.
Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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. PrerequisitesPrerequisite: PTDW 3030. |
Class Number |
Credits |
DepartmentLocation |
| 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. PrerequisitesPrerequisite: PTDW 3030. |
Class Number |
Credits |
DepartmentLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| 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.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Painting Materials and Techniques II | 3051 (001) | Frank Piatek | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is the second part of a two-semester sequence. The first semester presents the full array of materials used in painting with an introduction to some study of methods of construction. This course puts those materials to use and carries forward the study of methods and strategies of construction, beginning with Flemish and Venetian painters and carrying through late twentieth-century painting. The subject of painting is studied from the viewpoint of the language of material and process.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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. PrerequisitesPrerequisite: PTDW 2001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Art and the Spiritual | 3060 (001) | Frank Piatek | Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This is a studio course with accompanying lectures working from a basis in the sacred, spiritual, and visionary traditions of art making. Its purpose is to assist and facilitate the students' encounters and explorations of these forms, whether representational or abstract, and to discuss the work created. This course consists of studio work, lectures, visiting artists, students' readings, visual research, journal work, and a final presentation.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Drawing Machines | 3104 (001) | Tom Burtonwood | Tues
9:00 AM - 3:00 PM In Person |
Description
Drawing Machines is a studio course that introduces the use of mechanical apparatus and digital technology to produce drawings, paintings and sequential images. Course participants will experiment with ways that their creative expression can be produced using rules based systems, chance operations and disembodied practices. These methods of translation will be used as starting places for studio based outcomes using pen plotters, CNC machines and other mechanical devices. Prior experience with digital modes of making is useful but not required.
Drawing Machines will explore both historical and contemporary developments in technology that have made it possible for artists, designers and architects to use mechanical devices to express their ideas and produce images. Readings, screenings and examples will engage course participants with a range of critical and theoretical positions towards machine made and systems based forms of production. Artists will include Alberto Aguilar, Arno Beck, Daniel Catt, Sougwen Chung, Andee Collard, fingacode, Licia He, Jean-Pierrre Hébert, Eva Hesse, Carl Lostritto, Jennifer McCoy, Manfred Mohr, Vera Molnár, Wangechi Mutu, Lisa Orth, Casey Reas, Marcelo Soria Rodríguez, Sonia Sheridan, Maksim Surguy, Sol Le Witt, Emily Xie and more. Course participants will produce a body of work drawn from their personal creative interests using analog rules based systems, coded instructions and machine made outcomes. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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.
PrerequisitesPre: PTDW 2002 or Grad Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| PTDW: Professional Practice Topics | 3924 (001) | Dan Devening | Mon
12:15 PM - 3:00 PM In Person |
PrerequisitesPrerequisite: Sophomore seminar course |
Class Number |
Credits |
DepartmentLocation |
| 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/
PrerequisitesPrerequisite: Sophomore seminar course |
Class Number |
Credits |
DepartmentLocation |
| 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. PrerequisitesPrerequisite: Sophomore seminar course |
Class Number |
Credits |
DepartmentLocation |
| Advanced Painting Studio | 4001 (001) | Robert Burnier, Caitlin Cherry, Dan Devening | Mon/Tues/Wed
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.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Painting Studio | 4001 (001) | Robert Burnier, Caitlin Cherry, Dan Devening | Mon/Tues/Wed
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.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Painting Studio | 4001 (001) | Robert Burnier, Caitlin Cherry, Dan Devening | Mon/Tues/Wed
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.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Comics, Zines, & In-betweens | 4201 (001) | 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. PrerequisitesPre: Student must have completed two (2) PTDW 2002 classes, or be a Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Comics | 4201 (002) | 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 a full length comic book that is ready to self-publish. PrerequisitesPre: Student must have completed two (2) PTDW 2002 classes, or be a Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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. PrerequisitesPrerequisite: Professional practice course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| PTDW: Senior Advanced Painting | 4917 (001) | Scott Reeder, Arnold Kemp, Rachel Niffenegger | Mon/Tues/Wed
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.
PrerequisitesPrerequisite: Professional practice course |
Class Number |
Credits |
DepartmentLocation |
| PTDW: Senior Advanced Painting | 4917 (001) | Scott Reeder, Arnold Kemp, Rachel Niffenegger | Mon/Tues/Wed
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.
PrerequisitesPrerequisite: Professional practice course |
Class Number |
Credits |
DepartmentLocation |
| PTDW: Senior Advanced Painting | 4917 (001) | Scott Reeder, Arnold Kemp, Rachel Niffenegger | Mon/Tues/Wed
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.
PrerequisitesPrerequisite: Professional practice course |
Class Number |
Credits |
DepartmentLocation |
| 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.
PrerequisitesPrerequisite: Professional practice course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| PTDW: Senior Capstone | 4918 (002) | Rush Baker IV | Tues
12:15 PM - 3:00 PM In Person |
PrerequisitesPrerequisite: Professional practice course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| PTDW: Senior Capstone | 4918 (003) | Caitlin Cherry | Wed
12:15 PM - 3:00 PM In Person |
PrerequisitesPrerequisite: Professional practice course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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 |
Credits |
DepartmentLocation |
| Graduate Painting and Drawing Seminar | 5001 (002) | Robert Burnier | 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 |
Credits |
DepartmentLocation |
| Post-Baccalaureate Independent Projects | 5009 (001) | Peter Jorge Fagundo |
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.
PrerequisitesOpen to Post-Baccalaureate students only. |
Class Number |
Credits |
DepartmentLocation |
| 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.
PrerequisitesOpen to Post-Baccalaureate students only. |
Class Number |
Credits |
DepartmentLocation |
| 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 |
Credits |
DepartmentArea of StudyLocation |
| Conceptual Approach | 5033 (001) | Gaylen Gerber | Wed
8:30 AM - 11:15 AM 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 |
Credits |
DepartmentLocation |
| Conceptual Approach | 5033 (002) | Gaylen Gerber | Fri
8:30 AM - 11:15 AM 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 |
Credits |
DepartmentLocation |
| 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 |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (001) | Anne Harris |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (002) | Rush Baker IV |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (004) | Arnold Kemp |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (005) | Peter Jorge Fagundo |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (006) | Josh Dihle |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (007) | Caitlin Cherry |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (008) | Assaf Evron |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (010) | Paul Heyer |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (012) | Lisa Wainwright |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (013) | Shannon Stratton |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (014) | Scott Reeder |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (015) | Frank Piatek |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (016) | Jessica Jackson Hutchins |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (019) | Cameron Martin |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (020) | Cameron Spratley |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Painting & Drawing | 6009 (021) | Dan Devening |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
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