Kwame Gomez
Undergraduate Overview
Painting & Drawing Undergraduate Overview
Fall 2026 Application Deadline: March 1
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) | Rush Baker IV | Mon
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (002) | Larissa Setareh Borteh | Mon
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (003) | Sebastian Thomas | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (004) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (005) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (006) | Peter Jorge Fagundo | Tues
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (007) | Steven Husby | Tues
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (009) | Kaylee Rae Wyant | Tues
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (010) | Amanda Joy Calobrisi | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (011) | Michael Cuadrado Gonzalez | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (012) | Erin Washington | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (013) | Tyson Reeder | Thurs
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (014) | Herman Aguirre | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (015) | Dylan Rabe | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (016) | MJ Lounsberry | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (017) | Fri
9:00 AM - 3:00 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (018) | Noah Rorem | Fri
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (019) | Tues
3:30 PM - 9:15 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Comics | 2002 (001) | Johnny Sampson | Mon
9:00 AM - 3:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (002) | Molly Colleen O'Connell | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (003) | Cecilia Beaven | Tues
9:00 AM - 3:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (004) | Bianca Xunise | Tues
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (005) | Johnny Sampson | Tues
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics: From Basics To Print | 2002 (006) | Sara Varon | Wed
9:00 AM - 3:00 PM In Person |
Description
In this course, students will cover the basics of comics from A to Z, with a focus on printed comics. The class will start with technical aspects including drawing materials, composition, dialogue, lettering, panels, and framing. We will then discuss story-writing including character creation, setting, and plot. In the last several weeks, students will create their own 8 page comic, moving from thumbnails to pencils to final art. Finally, students will design a cover (to be printed on the Risograph,) lay out their comic in InDesign, print out multiple copies of their comic, and assemble their own mini-comic.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (008) | Sam Sharpe | Fri
9:00 AM - 3:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Comics | 2002 (009) | Cecilia Beaven | Sat
10:00 AM - 4:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Color | 2003 (001) | Jo Hormuth | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice.
In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Color | 2003 (002) | Steven Husby | Fri
9:00 AM - 3:00 PM In Person |
Description
This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice.
In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (001) | Noelle Africh | Mon
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (002) | MJ Lounsberry | Mon
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (003) | Don Southard | Tues
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (004) | Sebastian Thomas | Tues
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (005) | Jessica Du Preez | Tues
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (006) | Mary Griffin | Wed
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (007) | Karen Azarnia | Wed
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (008) | Ruth Poor | Thurs
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (009) | Josiah Ellner | Thurs
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (010) | Larissa Setareh Borteh | Fri
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Drawing: Multi-Level | 2030 (011) | Herman Aguirre | Fri
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fig Draw:Anatomy | 2030 (012) | Melinda Whitmore | Wed
9:00 AM - 3:00 PM All Online |
Description
This course is designed to enlighten and empower the student?s knowledge of basic anatomy in skeletal and superficial musculature forms and to apply it in a drawing context with confidence and fidelity. Not only will the student become better familiarized with anatomical structures through class lectures and life drawing sessions, but a greater understanding of the dynamics of form and movement in space will be achieved through practice and repetition of procedures learned throughout the course.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fig Draw: Adv Draw Inside/Out | 2031 (001) | Anne Harris | Tues
9:00 AM - 3:00 PM In Person |
Description
This course will concentrate on drawing the figure with an emphasis on sculptural form. The objective will be to use drawing?particularly line?to investigate the body three-dimensionally. You will work from the inside out, drawing internal volume and topography, rather than an outside edge.
The goal will be to rotate the body and move it through space, to understand its basic structure and movement and, through that understanding, to learn about drawing as a tool for investigation, a way of exploring and structuring space, weight, and form. By semester's end you will be able to invent a body in space. This ability is key to the tradition of figurative art found in artists ranging from Peter Paul Rubens to Kerry James Marshall and Nicole Eisenman. Throughout the course we will be looking at and learning from a range of figurative artists, both historical and contemporary, via lectures and visits to the museum, including the AIC?s Prints and Drawings viewing room. This is a highly structured course, akin to an intensive workshop. New information will be introduced every class. There will be regular outside assignments. PrerequisitesPrerequisite: PTDW 2030. |
Class Number |
Credits |
DepartmentLocation |
| Fig Draw:Adv:Narr/Figuration | 2031 (002) | Amanda Joy Calobrisi | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio drawing course explores how narrative operates in the history and traditions of figure painting. The class incorporates a range of methods; visits to the museum and galleries; introduce written material into drawn images; and analyze forms of narrative, including short film, graphic novels, abstraction, and sculpture. Sessions will focus on how mood, color, light and the passing of time influence how we read and produce a narrative image.
PrerequisitesPrerequisite: PTDW 2030. |
Class Number |
Credits |
DepartmentLocation |
| Studio Drawing: Multi-Level | 2040 (001) | Paul Heyer | Mon
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Std Draw:Large Format | 2040 (002) | Steven Husby | Mon
9:00 AM - 3:00 PM In Person |
Description
How big is big? Does the size of a drawing alter our ideas of what we?re about while we?re producing it? How do relationships of internal scale alter our sense of the surrounding space, and how do the sizes of the materials and the support alter our own awareness of scale? In this course we will explore the potential for large format drawing in the perceptual, material, narrative and conceptual senses. We will work towards expanding notions of Large, Format, Studio and Drawing. We will work towards specificity and developing each student's individual concerns. Bring your ambition, you'll need it.
Most time in class will be spent working on studio projects, which will be supplemented by museum visits, slide lectures, student led reading discussions and presentations, and in depth critique. Readings and artists looked at will vary, but will typically include texts which attempt a broad overview of the state of drawing within the field of contemporary art like Vitamin D2 and Drawing Now: Eight Propositions, and include contemporary artists working with drawing at ambitious scale such as Toba Khedoori, Amy Sillman, and William Kentridge, and more historical examples like Willem de Kooning, Cy Twombly, Lee Krasner, and Jasper Johns. There will be a long form mid-term critique and a shorter final critique. Students will be expected to complete multiple large scale works for each. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (003) | Jonas Müller-Ahlheim | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (004) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Dwg:Mixed Media Paper | 2040 (005) | Noelle Africh | Tues
9:00 AM - 3:00 PM In Person |
Description
Simply put, this class is about exploring possibilities-- the use of various combinations of materials used, wet and/or dry, on any paper related products, from fine drawing sheets to left over cardboard, as long as the what and how of it is on/with a paper support...the individual pursuit for a personal visual voice is encouraged...during the first several weeks, various 'problems' will be given to start things moving?
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Std Draw:Representn/Abstractn | 2040 (006) | Judith Geichman | Tues
9:00 AM - 3:00 PM In Person |
Description
Manipulate Space, Deconstruct Form, Re-Invent Your Visual World.
This course will explore different form and space making systems as they relate to abstraction. Slide presentations throughout the semester will focus on abstraction and different artist, art movements, elements of visual language, and concepts past and present, all to engage and open students visual ideas and art making practice. Students will be encouraged to pursue their own ideas and imagery as they work with the course material. Painterly drawing will be explored, as well as drawing from a live model. Field trips are scheduled in the curriculum. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (007) | Alexis de Chaunac | Tues
3:30 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Draw:Landscape | 2040 (008) | Olivia Petrides | Wed
9:00 AM - 3:00 PM In Person |
Description
From the sublime to the technological, contemporary artists are reinventing the landscape genre and examining its relevance. This multi-level studio course provides an opportunity to explore individual perceptions of the natural world in light of current landscape painting narratives. There will be presentations and readings on issues pertinent to the landscape as subject.
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Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (009) | Noah Rorem | Wed
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (010) | Arnold Kemp | Thurs
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (011) | Robert Burnier | Thurs
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (012) | Scott Reeder | Thurs
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (013) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (014) | Jessica Zawadowicz | Thurs
3:30 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (015) | George Liebert | Fri
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (016) | Tyson Reeder | Fri
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (017) | Claire Ashley | Sat
10:00 AM - 4:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Std Draw:Adv Form Invention | 2041 (001) | Richard Hull | Tues
9:00 AM - 3:00 PM In Person |
Description
An advanced investigation of drawing as an organizing tool for thought and personal image exploration. Students work with both assigned and independently conceived problems. Topic: Form Invention - The exploration of representation strategies beyond direct perception and conventional visual modes. Procedures will include exaggeration and omission, stylization and abstraction, composite and hybrid forms, secondary and double images, visual puns and rhymes, and multi-perspectival representation. Examples will be drawn from the span of art history, East and West and from contemporary practice and visual culture. There will be studio problems and exercises, sketchbook assignments, individual projects, slide presentations, and museum visits.
PrerequisitesPrerequisite: PTDW 2040. |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (001) | Josh Dihle | Mon
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (002) | Erin Washington | Mon
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (003) | Paola Cabal | Tues
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (004) | Matt Morris | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (005) | Larissa Setareh Borteh | Tues
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (006) | Judith Geichman | Wed
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (007) | Rush Baker IV | Wed
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio A: Multi-Level | 3001 (008) | Susan Kraut | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B:Exploding Paint | 3002 (001) | Claire Ashley | Tues
3:30 PM - 9:15 PM In Person |
Description
Using an irreverent love of painting and an absurdly oedipal desire to destroy it, this class looks at ways to create fantastical, hybridized, bastardized offspring ?paintings? in the expanded field. We will connect painterly gestures with non-traditional surfaces such as modular, flat-pack, and portable sculptural form, found objects, architectural space, virtual space, video projection, performative action, and the body. Color workshops, woodshop authorizations, material sourcing field trips, video projection/performance workshops, and site-specific installations will be components of this class. A willingness to experiment, invent, imagine, and fail is required.
Artists shown will range from historical figures such as Robert Rauschenberg, Sam Gilliam, Elizabeth Murray, Lynda Benglis, and Eva Hesse, to contemporary practitioners such as Jessica Stockholder, Katharina Grosse, Tomashi Jackson, Anna Betbeze, Liu Bolin, Abigail DeVille, Yvette Mayorga, Alexis Teplin, Brian Bress, Donna Huanca, Rachel Rose, Takeshi Murata, Ben Jones, and Lee Wen. Readings will vary but typically include Thomas McEvilley's 'Thirteen Ways of Addressing a Blackbird', 'Mapping: The Intelligence of Artistic Work' by Anne West, and ?Painting 2.0: Expression in the Information Age? edited by Ammer, Hochdorfer, and Joselit. The semester will consist of three ambitious projects and critiques: 1. Draped Skins; 2. Goopy Objects; 3. Body Actions. Slide presentations and required readings will be assigned. PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B: Take It Slow | 3002 (002) | Karen Azarnia | Tues
9:00 AM - 3:00 PM In Person |
Description
In our contemporary society, we are constantly bombarded by visual imagery. The goal of this painting course is to create the conditions to slow down and make careful work, unplugging from the distractions of screens and the hectic pace of modern life to become more mindful of the world around us. We will approach the idea of slowing down through engagement with ideas concerning perception/looking, process, speed, and mental focus. This can be interpreted very broadly: the work itself may be abstract, representational or something in-between. We will also consider the ramifications of what it means to make a choice to consciously slow down. The overall process should allow for deeper engagement and development of work.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B:The Abstract Image | 3002 (003) | Richard Hull | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio class will be an exploration of the premise that all paintings are abstract. Whether an image is found and formed from observation or imagination, that image is ultimately an abstraction of its source. We will address issues of Abstraction, Representation, and Conceptualism. Shape, color, composition and intent--no matter what the image--will be the class's focus.
This is a studio class. There will be no readings. Examples of other artist work will be given in response to the individual student's work. Every assignment is based on the students own work. All the assignments are surprises. The students will work a lot, some make more work than others. PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B:Funny Painting | 3002 (004) | Scott Reeder | Fri
9:00 AM - 3:00 PM In Person |
Description
This course will explore the many varied possibilities of humor and painting. Through studio work, readings, presentations, and in class critique students will investigate both funny Ha Ha and funny Peculiar; drawing inspiration from alternative figures in art history as well as alternative approaches to making. Special emphasis will be placed on artists who employ an interdisciplinary studio practice.
Some examples of artists to be discussed; Martin Kippenberger, Dieter Roth, David Shrigley, Paul McCarthy, Brenna Murphy, The Hairy Who, The Gutai Movement, Erwin Wurm, Rachel Harrison, Maurizio Cattelan, Arte Povera, Tom Friedman, Jessica Stockholder, Sigmar Polke, Francis Picabia. PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Ptg Std B: Surrealist Strategies | 3002 (005) | Kaylee Rae Wyant | Fri
9:00 AM - 3:00 PM In Person |
Description
Looking to the legacy of Surrealism as a strategy for contemporary painting, this course explores how intuitive processes and the unconscious can spark visual invention. Students will experiment with techniques such as automatism, collage, decalcomania, frottage, and the transformation of found objects to generate unexpected imagery. The class will study well-known Surrealist works at the Art Institute and also examine the movement's significant international and cross-generational impact, considering non-Western artists, the inclusion of women, contemporary artists, and many Chicago-based painters. Through exercises in intuitive abstraction and hybrid imagery, students will learn to harness chance, ambiguity, and the uncanny as tools for expression.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| 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) | Caitlin Cherry | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.
Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Painting A: Multi-Level | 3030 (002) | Don Southard | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.
Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Figure Painting A: Multi-Level | 3030 (003) | Dylan Rabe | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.
Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| 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) | Jaclyn Gaye Mednicov | Fri
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) | Jaclyn Gaye Mednicov | Mon
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 (003) | 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 |
| Graphic Journalism | 3201 (001) | Anya Pauline Davidson | Thurs
9:00 AM - 3:00 PM In Person |
Description
For over a century, illustrators have used the comics medium to document current events and disseminate information, but due to globalization, the ascent of the graphic novel and the birth of the internet, the practice is now more vital than ever. From global conflicts to cultural events, cartoonists are documenting the defining moments of our era as they happen, and are creating works that help readers comprehend the complex historical, political and cultural forces shaping our world. In this class, students will read classic works of graphic journalism, learn best practices for artists in the field, and create their own short works that explore various aspects of contemporary life in Chicago and beyond.
PrerequisitesPre: PTDW 2002 or Grad Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Fiction Comics | 3201 (002) | Marnie Galloway | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course focuses on developing and refining the writing and cartooning skills required to make short fiction comics. In this class we will explore the rhythms of literary storytelling, discuss the formal elements of comics, develop composition and inking skills, create short comics to build foundations of comics storytelling, and finish the semester by self-publishing a collection of the comics we made through the semester. Required readings supplement the studio assignments, which will include short fiction comics, poems, flash fiction, and excerpts from graphic novels.
PrerequisitesPre: PTDW 2002 or Grad Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Mechanics of Visual Storytelling | 3201 (003) | Sam Sharpe | Thurs
3:30 PM - 9:15 PM In Person |
Description
Comics are a unique form of storytelling that draw on many different art forms: the line art of the calligrapher, the eye flow of the graphic designer, the three-dimensional thinking of the architect, the attention to movement of the dancer, the emotional introspection of the actor, the composing eye of the cinematographer, and the color theory of the painter¿all layered on top of the dialogue and character creation of the playwright. You don¿t need to be a master of all these disciplines to make engaging comics¿no cartoonist has ever mastered them all¿but you do need to understand these elements and how they work together to tell a story. This is what this class is designed to do.
PrerequisitesPre: PTDW 2002 or Grad Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Erotics of Excess | 3298 (001) | Rebecca Walz, Jeremy Biles | Thurs
12:15 PM - 3:00 PM In Person |
Description
This course investigates the relationship between eroticism, excess, artistic practice, and modes of representation. Taking an interdisciplinary and transgeneric approach (with readings in theory, history, philosophy, psychology, and literature), the course will treat a variety of mediums, with special emphasis on painting, drawing, and adjacent practices. Instructors frame the concept of 'erotics' as a mode of practice that investigates and integrates sex, gender, and a variety of ambivalent movements, for example, the play of form and formlessness, figuration and monstrosity, taboo and transgression, attraction and repulsion, incorporation and excretion, abjection and sublimity. Key ideas discussed in class include sex/uality, gender, difference, bodies, ritual, violence, representation, desire, 'perversion.' Students will read texts from art theory and history, psychoanalysis, literature, and psychology. Throughout the class, they will be asked to synthesize course readings and discussions with their own artistic practice.
PrerequisitesStudio Symposia - Students must enroll in both PTDW 3298 and HUMANITY 3298 |
Class Number |
Credits |
DepartmentLocation |
| Erotics of Excess | 3298 (001) | Rebecca Walz, Jeremy Biles | Thurs
12:15 PM - 3:00 PM In Person |
Description
This course investigates the relationship between eroticism, excess, artistic practice, and modes of representation. Taking an interdisciplinary and transgeneric approach (with readings in theory, history, philosophy, psychology, and literature), the course will treat a variety of mediums, with special emphasis on painting, drawing, and adjacent practices. Instructors frame the concept of 'erotics' as a mode of practice that investigates and integrates sex, gender, and a variety of ambivalent movements, for example, the play of form and formlessness, figuration and monstrosity, taboo and transgression, attraction and repulsion, incorporation and excretion, abjection and sublimity. Key ideas discussed in class include sex/uality, gender, difference, bodies, ritual, violence, representation, desire, 'perversion.' Students will read texts from art theory and history, psychoanalysis, literature, and psychology. Throughout the class, they will be asked to synthesize course readings and discussions with their own artistic practice.
PrerequisitesStudio Symposia - Students must enroll in both PTDW 3298 and HUMANITY 3298 |
Class Number |
Credits |
DepartmentLocation |
| Show It Yourself: Chicago's Artist-Run Spaces | 3924 (001) | Danny Bredar | Mon
8:30 AM - 11:15 AM In Person |
Description
This professional practice class focuses on the history and current practice of artist-run art spaces in Chicago. Students will research historical artist-driven culture and meet with current artists/curators.
Readings and lectures will look at different models of exhibiting artwork, working within economic constraints, and terrain of the art market. Students will build professional skills such as writing an artist statement, curriculum vitae, artist talks, documenting work, and applying to opportunities like residencies or grants. The class will curate and produce a collaborative exhibition as a culminating event. PrerequisitesPrerequisite: Sophomore seminar course |
Class Number |
Credits |
DepartmentLocation |
| PTDW: Prof Prac: I Made a Thing... | 3926 (001) | Sam Jaffe | Wed
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 |
| PTDW: Prof Prac: I Made a Thing... | 3926 (002) | Lorraine Peltz | 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) | Anne Harris, Sam Jaffe, Robert Burnier | Wed, Thurs, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Painting Studio | 4001 (001) | Anne Harris, Sam Jaffe, Robert Burnier | Wed, Thurs, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Painting Studio | 4001 (001) | Anne Harris, Sam Jaffe, Robert Burnier | Wed, Thurs, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Painting Studio | 4001 (002) | Caitlin Cherry, Peter Jorge Fagundo, Jessica Jackson Hutchins | Wed, Thurs, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Painting Studio | 4001 (002) | Caitlin Cherry, Peter Jorge Fagundo, Jessica Jackson Hutchins | Wed, Thurs, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Painting Studio | 4001 (002) | Caitlin Cherry, Peter Jorge Fagundo, Jessica Jackson Hutchins | Wed, Thurs, Fri
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Advanced Comics | 4201 (001) | Jeremy R Tinder | Sat
10:00 AM - 4:00 PM In Person |
Description
This advanced studio will explore the comics form by reading and discussing contemporary works in addition to creating comics of your own. There will be a heavy focus on the processes of comics creation and self-publication. The goal is to improve your cartooning skills, help you better communicate to your chosen audience, and increase your understanding of comics as an art form.
Readings and artists vary. Projects include completing work that is ready to self-publish. Please review Topic Descriptions for individual class focus. PrerequisitesPre: Student must have completed two (2) PTDW 2002 classes, or be a Graduate Student |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Post-Bacc Painting Methods | 4700 (001) | Josh Dihle | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is specifically designed for post-bacc painting students.
This course is designed to present experienced students with an intensive survey of painting materials, methods, and processes. We will undertake a close examination of historical and contemporary painting techniques to harness the range of optical and material effects available within the medium. Students will learn by demonstration and direct exploration. We will seek control over pigments and binders as well as an understanding of the physical and chemical principles that underpin their archival use. Particular emphasis will be given to control in handling of color relationships, surface properties, and perceptual space. Mark David Gottsegen¿s The Painter¿s Handbook is the required course text. We will explore the production and handling of egg tempera, egg oil emulsion, casein, acrylic, and oil paints. In some cases, we will make our own paint. Students will learn various methods, including include surface preparation, underpainting, modeling form, glazing, and color mixing. We will contextualize these methods by looking at the work of historical and contemporary practitioners, from cave painting to Medieval altarpieces to today¿s painting innovators. The first half of the class will focus on a range of paints and processes. The second half will balance open-ended assignments with independent work while utilizing the materials and methods we¿ve learned. Students should expect to complete between 8 and 10 paintings over the course of the semester. PrerequisitesOpen to PBACC students only. |
Class Number |
Credits |
DepartmentLocation |
| Making a Life in the Arts: Professional Practice Studio for Post Baccs | 4701 (001) | kg Gnatowski | Fri
12:15 PM - 3:00 PM In Person |
Description
This course is specifically designed for post-bacc painting students.
In this course, students will explore and create their own definitions of success, starting with their preconceived notions of what it means to be a successful artist. We will break down outdated expectations and myths and will rebuild unique, personal, and fulfilling plans for a creative life. Hands-on writing labs, workshops research, field trips and guest artists will help shape student's possible career paths as they construct plans for navigating pathways through myriad art worlds. We will investigate a number of topics and tools that support a career in the arts, including: mind-mapping, goal-setting, creating professional materials (CV, statement, bio), applying to professional opportunities such as grants and residencies, studio visits, working with galleries, creating a working studio and installing one's work. Course material will include artists personal accounts of leading a creative life and tools they use to make projects more rich including guest artists and studio field trips. A lab style collaborative editing strategies will be employed for creating a CV, artist statement, bio and image portfolio preparing the cohort for MFA applications (if they so choose). This experiential learning will take place in-class focusing on participation, experimentation, observation and practice. The course tailors the experience in the class to the unique career goals of an international, multi-generational cohort of post-bacc students. This course involves numerous written assignments; students must be prepared to write and edit their work. Students will choose from a vast menu of short projects in order to tailor their experience in the class to their career goals. Final assignments will include 1) a clear personal vision of success; 2) steps for achieving short and long-term goals, and 3) refined professional materials suitable for application. PrerequisitesOpen to PBACC students only. |
Class Number |
Credits |
DepartmentLocation |
| Lives of the Artists | 4918 (001) | Dushko Petrovich | Tues
12:15 PM - 3:00 PM In Person |
Description
In this class we will prepare the student for life out of school through looking at at the lives of artists through their writings and biographies. Artists writings/biographies will include Joan Mitchell, Fairfield Porter, Andrey Tarkovsky, Seth Price, Laura Owens, among others. Group critiques and a field trip to an artist studio will be included, as well as practical advice on documenting work and writing artist statements.
PrerequisitesPrerequisite: Professional practice course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Graduate Painting and Drawing Seminar | 5001 (001) | Magalie Guerin | Mon
6:45 PM - 9:30 PM All Online |
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) | Arnold Kemp | Wed
12:15 PM - 3:00 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-Bacc Sem:Painting/Drawing | 5002 (001) | Jessica Jackson Hutchins, Shannon Stratton | Wed
12:15 PM - 3:00 PM In Person |
Description
Designed to unify the experience of the post-baccalaureate studio program, this class explores how an artist develops a body of work. This includes discussions of working processes and issues in art, critiques and explorations of resourses of the School, museum and city.
PrerequisitesOpen to Post-Baccalaureate students only. |
Class Number |
Credits |
DepartmentLocation |
| Post-Bacc Sem:Painting/Drawing | 5002 (001) | Jessica Jackson Hutchins, Shannon Stratton | Wed
12:15 PM - 3:00 PM In Person |
Description
Designed to unify the experience of the post-baccalaureate studio program, this class explores how an artist develops a body of work. This includes discussions of working processes and issues in art, critiques and explorations of resourses of the School, museum and city.
PrerequisitesOpen to Post-Baccalaureate students only. |
Class Number |
Credits |
DepartmentLocation |
| Post-Bacc Projects: Painting & Drawing | 5009 (001) | Shannon Stratton |
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-Bacc Projects: Painting & Drawing | 5009 (002) | Lora Fosberg |
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 |
| Graduate Painting and Drawing Critique Seminar | 5035 (001) | Gaylen Gerber | 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 |
| Painting Materials: Individual Investigations | 5040 (001) | Josh Dihle | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Materials: Individual Investigations
This class is for students who wish to gain material mastery of their work by expanding their knowledge of its physical aspects. Students will learn to make their own paints and employ application processes and strategies from the earliest forms to experimental approaches of the moment. The class will be balanced between practical demonstrations of paint formulation and application methods, individual projects and class critiques. Covered media will include, but are not limited to: tempera and emulsion paints, acrylic, casein, oil, encaustic, distemper, pigment dispersions, grounds and supports. Special emphasis will be placed on areas of greatest student interest and individual approaches. |
Class Number |
Credits |
DepartmentLocation |
| Grad Seminar: Comics | 5200 (001) | Jeremy R Tinder | Mon
12:15 PM - 3:00 PM In Person |
Description
These graduate seminars focus on comics and visual narratives. Students will discuss and examine historical and contemporary concerns relevant to the topic listed and their own practice. Critique, feedback, and discussion are key aspects where students will share their work with each other and the faculty, in addition to sharing their reactions, interpretations, and critical responses to discussion topics. Students will be exposed to a wide breadth of creators through readings. Readings vary but typically include graphic novels, academic texts, floppy comics, interviews, and zines. Course work may include dynamic readings, studio visits, engaging classroom discussions, guest speakers, field trips, critiques, and lectures about the topic listed.
PrerequisitesMust be enrolled in the MFA Comics Pathway |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Pedagogy & Proposals | 5200 (002) | Beth Kathleen Hetland | Tues
8:30 AM - 11:15 AM In Person |
Description
This seminar will address professional practices for teaching comics and developing proposals, including graphic novel pitches. Part of the semester we will explore a variety of teaching approaches for various age groups and venues while examining unique challenges for comics in particular. Students can expect to create a wide range of documents aimed at preparing them to teach including but not limited to syllabi, teaching statements, lesson plans, lectures, and assignments. The other part will be focused on researching proposal opportunities including residencies, grants, fellowships, and graphic novel pitches. Students will develop and refine language for applications, collect contacts and submission deadlines, and dissect publishing contracts.
PrerequisitesMust be enrolled in the MFA Comics Pathway |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Grad Projects:Painting & Drawing | 6009 (001) | Tyson 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 (002) | 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 (003) | 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 (004) | 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 (005) | 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 (006) | 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 (007) | Robert Burnier |
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) | 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 (009) | 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 (010) |
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 (011) | Diana Guerrero-Maciá |
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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