Undergraduate Overview
Undergraduate Overview
Spring 2026 Application Deadline: November 1
Fall 2026 Early Action & Priority Merit Scholarship Deadline: November 15
As an undergraduate student in The Department of Photography at the School of the Art Institute of Chicago (SAIC), you will develop solid mastery over the technical and conceptual complexity that characterizes photography’s past and present while enhancing your ability to discuss your work and the work of others.
Image
Students concentrating on their Bachelor of Fine Arts (BFA) studies in Photography will:
- Learn from distinguished, practicing artists with a variety of approaches to photography.
- Collaborate with graduate students and peers to create an annual departmental catalog.
- Participate in a 3-credit capstone spine class geared towards preparation for the senior Bachelor of Fine Arts thesis exhibition.
Undergraduate classes offer a natural progression for all students.
- Beginning classes present basic practical skills and strategies for conceptual thinking.
- Intermediate classes are in-depth studies of specific conceptual issues or techniques.
- Advanced classes present opportunities for more self-directed projects, group seminars, and frequent private consultations with instructors.
Course titles and topics––over 30 offerings each semester––range from Intro to Photography to Lighting Fundamentals, Surrealism and Photography, Digital Light Projections, Fashion Photography, Advanced Post-Production, and more, allowing students to delve deeply into an area of interest, find synergies with departments and mediums across the school, or explore and master a wide range of techniques and equipment.
Scholarships
In addition to merit scholarships awarded at the time of admission, each year, a senior student working in the photography department is selected by the faculty for the Fred Endsley scholarship, an unrestricted one-time $1,000 cash award which can be used to create new work or prepare for the senior exhibition.
Undergraduate Admissions Requirements & Curriculum
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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—work that 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.
Learn more about applying to SAIC's Bachelor of Fine Arts in Studio, or view our portfolio preparation guide for more information.
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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
Course Listing
| Title | Catalog | Instructor | Schedule |
|---|---|---|---|
| Introduction to Photographic Image Making | 1001 (001) | Cecil McDonald, Jr. | Mon
9:00 AM - 3:00 PM In Person |
Description
This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Photographic Image Making | 1001 (002) | Catherine Gass | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Photographic Image Making | 1001 (003) | Rachel Herman | Tues
9:00 AM - 3:00 PM In Person |
Description
This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Photographic Image Making | 1001 (004) | Wed
9:00 AM - 3:00 PM In Person |
|
Description
This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Photographic Image Making | 1001 (005) | Lali Khalid | Thurs
9:00 AM - 3:00 PM In Person |
Description
This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Introduction to Photographic Image Making | 1001 (006) | Oliver Sann | Tues
3:30 PM - 9:15 PM In Person |
Description
This foundational course introduces students to photography as a tool for creative expression and critical inquiry. Through hands-on assignments, students develop technical skills in camera operation, composition, and digital printing while exploring photography¿s evolving nature and impact on perception. Readings, screenings, and discussions provide a critical framework for analyzing images¿both personal and cultural. Emphasizing both conceptual growth and practical application, the course encourages experimentation across genres and prepares students for advanced photographic study. Required for all subsequent photo courses.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Slow Photo | 2003 (001) | Monika Niwelinska | Fri
9:00 AM - 3:00 PM In Person |
Description
This course invites students with a foundational knowledge of photography to expand their image-making practices through hands-on, experimental techniques. Exploring cyanotype, van dyke brown, collage, reproduction, and transfer methods, students gain a working understanding of graphic arts and print films. The course encourages curiosity, independent research, and creative risk-taking, with opportunities to integrate text, installation, and performance. Emphasizing process and material exploration, Slow Photo fosters a deeper engagement with photography beyond the digital, embracing time-intensive approaches that challenge conventional image-making.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Medium Format | 2009 (001) | Nathan Miller | Fri
9:00 AM - 3:00 PM In Person |
Description
Explore the history, methods, and creative potential of medium format film photography. In this course, students will work with medium format cameras, experimenting with black-and-white and color film. Through guided instruction, they will learn film development techniques and both analog and digital printing methods. By combining traditional and experimental approaches, students will expand their photographic practice and deepen their understanding of the medium.
PrerequisitesPrerequisite: 3 credits of PHOTO 1000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Color | 2010 (001) | Sonja Ruth Thomsen | Mon
9:00 AM - 3:00 PM In Person |
Description
This course explores the intricate concepts and practices of color photography, integrating perception, science, and cultural significance. Students refine their ability to see and interpret color through hands-on projects, peer critique, and historical and theoretical discussions. Technical instruction includes image capture, color correction, light quality, printing across various scales and media, and presentation strategies. Through these explorations, students deepen their understanding of color¿s role in shaping meaning and photographic expression.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Black and White | 2011 (001) | Oliver Sann | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course explores the techniques and aesthetics of black and white photography, from exposure to final prints. Students will develop skills in analog darkroom and inkjet printing, contrast control, lighting techniques, and the impact of scale, paper, and film choices. Hands-on projects and darkroom experimentation will deepen technical abilities and creative expression. An adjustable film camera is required.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Black and White | 2011 (002) | Robert Clarke-Davis | Wed
9:00 AM - 3:00 PM In Person |
Description
This course explores the techniques and aesthetics of black and white photography, from exposure to final prints. Students will develop skills in analog darkroom and inkjet printing, contrast control, lighting techniques, and the impact of scale, paper, and film choices. Hands-on projects and darkroom experimentation will deepen technical abilities and creative expression. An adjustable film camera is required.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Lighting Fundamentals | 2015 (001) | Sonja Ruth Thomsen | Wed
9:00 AM - 3:00 PM In Person |
Description
Light is a powerful tool for creative control. In this course, students learn to observe, measure, and manipulate light to enhance their photographic work. Through hands-on practice, they explore the interplay of natural, ambient, and artificial light sources¿including on-camera and hand-held flash¿within existing conditions. By understanding metering and light mixing techniques, students gain the skills to shape mood, depth, and atmosphere in their images. This course provides a strong foundation in lighting, equipping students with practical techniques to elevate their work with confidence and precision.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Lighting Fundamentals | 2015 (002) | Kyle Dunn | Tues
9:00 AM - 3:00 PM In Person |
Description
Light is a powerful tool for creative control. In this course, students learn to observe, measure, and manipulate light to enhance their photographic work. Through hands-on practice, they explore the interplay of natural, ambient, and artificial light sources¿including on-camera and hand-held flash¿within existing conditions. By understanding metering and light mixing techniques, students gain the skills to shape mood, depth, and atmosphere in their images. This course provides a strong foundation in lighting, equipping students with practical techniques to elevate their work with confidence and precision.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Photography and Visual Culture Theory | 2040 (001) | Jonas Becker | Tues
12:15 PM - 3:00 PM In Person |
Description
This course examines historical and contemporary philosophies, critical frameworks, and theoretical approaches that shape photography and visual culture. Designed to prepare students for advanced discourse, whether in graduate studies or as practicing artists navigating the broader art world, the class emphasizes the integration of theory, research, and artistic practice. Through weekly critical readings, discussions, and informal writing assignments, students will analyze key concepts, articulate ideas, and conduct theoretical research connected to their own creative work. The course also incorporates visits to photography exhibitions and collections around the city, fostering engagement with contemporary photographic dialogue.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Sophomore Seminar: Interdisciplinary | 2900 (056) | Rachel Herman | Thurs
3:30 PM - 6:15 PM In Person |
Description
What are the concerns that drive one's creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision.
Prerequisite: Must be a sophomore to enroll. PrerequisitesPrerequisite: Must be a sophomore to enroll. |
Class Number |
Credits |
DepartmentLocation |
| Large-Format | 3002 (001) | Alan Labb | Tues
9:00 AM - 3:00 PM In Person |
Description
Large Format Photography introduces students to the concepts and aesthetics of working with a large-format view camera. Students will learn pre-visualization, camera movements, perspective control, large-format optics, and sheet film handling. Through flexible assignments, they are encouraged to develop a personal style while exploring traditional genres such as portraiture, landscape, studio, and architecture. Technical skills include view camera setup, the zone system, large-format scanning, and both analog and digital printing. Each student is assigned a 4x5 studio camera and has access to 8x10 and 4x5 field cameras, along with various optics and accessories.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Individual Projects | 3004 (001) | Jonas Becker | Mon
9:00 AM - 3:00 PM In Person |
Description
This course fosters the development of self-directed, research-driven projects, challenging students to push beyond traditional photographic approaches and explore interdisciplinary practices. Emphasizing experimentation, students refine their conceptual depth and technical skills while advancing a sustained body of work. Through critiques, discussions, collaborations, workshops, and individual mentoring, the course supports ambitious project development and strategies for exhibition, publication, and public engagement. Designed to complement Senior Capstone projects, it prepares students for the BFA exhibition and professional creative practices. May be repeated for credit.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentLocation |
| Top: FRANKENSTEIN SCREEN TEST | 3005 (001) | Kate O'Neill | Tues
9:00 AM - 3:00 PM All Online |
Description
Taking its title from Andy Warhol¿s eerie, steady-shot 1960s film portraits and Mary Shelley¿s Gothic tale of an assembled body animated by new technology, this course investigates convergences between photography and the screen, with special attention to hybrid media practices; collage and montage; the body; and images that are animated, reanimated, or stilled. Foregrounding experimental uses of photography in relation to moving images, animation, and screen-based display, the course introduces artists who challenge conventional boundaries between still and moving image, photography and cinema, body and machine. Students will produce a series of short projects investigating these ideas through photographic, time-based, and hybrid media experiments, culminating in a final project situating photography within the expanded field of screen culture.
PrerequisitesPrerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent. |
Class Number |
Credits |
DepartmentLocation |
| Top:Fashion Photography | 3005 (002) | Mayumi Lake, Donald Yoshida | Thurs
9:00 AM - 3:00 PM In Person |
Description
Class objectives are to provide students with an opportunity to work through the process of concept development, pre-production, fashion Styling, hair & markup, set design, location scouting, studio & natural lighting techniques, digital post production, and how to capture the essence of the fashion theme through tested photography techniques. Garment silhouette, cut & construction, color, pattern and texture are key elements given consideration to clearly communicate the fashion design idea using the most up-to-date and effective photographic techniques. Editorial Photography themes are used in collaboration with Fashion students, garments and class photo shoots are used throughout the Fashion Department's annal award-winning 'the Book' publication. Visits to professional fashion photographer studios, exhibition visits, and in-class lectures give students additional opportunities to discuss create and technical topics being used today in fashion photography. This course requires instructor consent and an application. Please do not email the instructor directly. Instead, fill out the form at this link, https://tinyurl.com/mwuhuntx, to submit your portfolio and application before the deadline.
PrerequisitesPrerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent. |
Class Number |
Credits |
DepartmentLocation |
| Top:Fashion Photography | 3005 (002) | Mayumi Lake, Donald Yoshida | Thurs
9:00 AM - 3:00 PM In Person |
Description
Class objectives are to provide students with an opportunity to work through the process of concept development, pre-production, fashion Styling, hair & markup, set design, location scouting, studio & natural lighting techniques, digital post production, and how to capture the essence of the fashion theme through tested photography techniques. Garment silhouette, cut & construction, color, pattern and texture are key elements given consideration to clearly communicate the fashion design idea using the most up-to-date and effective photographic techniques. Editorial Photography themes are used in collaboration with Fashion students, garments and class photo shoots are used throughout the Fashion Department's annal award-winning 'the Book' publication. Visits to professional fashion photographer studios, exhibition visits, and in-class lectures give students additional opportunities to discuss create and technical topics being used today in fashion photography. This course requires instructor consent and an application. Please do not email the instructor directly. Instead, fill out the form at this link, https://tinyurl.com/mwuhuntx, to submit your portfolio and application before the deadline.
PrerequisitesPrerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent. |
Class Number |
Credits |
DepartmentLocation |
| Top: Light/Emulsion/Process | 3005 (003) | Monika Niwelinska | Tues
3:30 PM - 9:15 PM In Person |
Description
Light - Emulsion - Process refines and expands the potential of alternative photographic practices taught in the Photo Department. The course is geared toward students who wish to deepen a conceptually driven approach to photosensitive imagery within their artistic work. It covers a range of alternative photographic processes, supported by selected digital techniques, and approaches alternative photography as a vital mode of contemporary artistic expression and engagement with the world. The course fosters both rigorous technical exploration and a focus on individual artistic narratives. At the core lies the synthesis of conceptual inquiry and aesthetic outcome - an effort to generate meaning and making against the historical ballast and enduring significance of the photosensitive medium. Grounded in both theoretical reflection and visual research, the course emphasizes research-based studio practice. The studio component encourages experimentation across diverse alternative processes and culminates in the realization of two independent, long-term projects developed over the semester.
PrerequisitesPrerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent. |
Class Number |
Credits |
DepartmentLocation |
| Top: Photographic Books | 3005 (004) | Robert Clarke-Davis | Thurs
9:00 AM - 3:00 PM In Person |
Description
The class will address the photographic book. We will investigate the numerous styles and how it influences meaning. We will question the limits of books where photography will be the main emphasis. This is not a class that will be primarily on structure we will not be making books beyond the most basic level. The quality and traits of print on demand publishing and visit with local publishers and editors will be arranged. We will almost live in the Joan Flash Artists' Book Collection. The main text will be the Structure of the Visual Book by Keith Smith. Among courses that would work well in conjunction are: Structuring/Sequencing/Series and Artist Books.
PrerequisitesPrerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent. |
Class Number |
Credits |
DepartmentLocation |
| Image Editing & Output | 3007 (001) | Colleen Plumb | Thurs
9:00 AM - 3:00 PM In Person |
Description
Image Editing & Output refines digital imaging skills with a focus on post-production and high-quality printing. Students refine workflows, develop expertise in advanced editing techniques like color management, masking, and compositing, and explore creative post-production methods using Photoshop and other software. Technical assignments and self-directed projects reinforce these skills. Readings and discussions address contemporary issues in digital imaging and evolving output technologies. As digital tools constantly change, students develop research and problem-solving strategies to adapt their workflows and stay current with new advancements. This course balances technical precision with creative exploration, preparing students for the ever-evolving world of digital imaging.
PrerequisitesPrerequisite: PHOTO 1001 and PHOTO 2010. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Structuring, Sequencing and Series | 3010 (001) | Aimée Beaubien | Mon
9:00 AM - 3:00 PM In Person |
Description
Structuring, Sequencing, Series explores how photographic meaning is shaped through sequences and series¿fundamental ways we encounter images in books, exhibitions, installations, and digital spaces. This course examines how structure influences interpretation, considering both narrative and non-narrative approaches across diverse genres. Through hands-on assignments, students will experiment with serial imagery in photobooks, zines, portfolios, web-based projects, installations, video, and projection. By analyzing historical and contemporary examples, students will develop a deeper understanding of photography¿s evolving role and refine their ability to construct compelling visual narratives.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Exploratory Media | 3011 (001) | Sara Condo | Fri
9:00 AM - 3:00 PM In Person |
Description
Exploratory Media examines the fluidity and connection between various forms of media. The course builds on the history of Conceptualism, an artistic practice born in the 1960s that prioritized the idea, allowing the medium to follow as well as the highly influential theory of the medium itself being meaning and message. This course will highlight the history of artists who worked with a wandering ¿nomadic¿ mindset due to access to new technologies such as video art collectives of the 1970¿s as well as photographers who work within a non-traditional lens based practice. This laboratory-like course encourages students to experiment and iterate: In this course students are asked to consider their artistic intentions through different kinds of media like performance, sculpture, sound, while also focusing on different outputs for lens based work such as alternative photographic substrates, performance, installation. The course structure relies on assignment-based projects, frequent hands-on studio experimentations, peer-to-peer feedback, and looking at other artists' work in a variety of mediums. Intermittent readings, lectures, and screenings provide a conceptual framework for this work.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Ghost in the Chamber: Surrealism and Photography | 3098 (001) | Kate O'Neill, Jeremy Biles | Fri
9:00 AM - 11:15 AM In Person |
Description
This interdisciplinary studio symposium course introduces students to key principles and practices of surrealism with particular focus on theories of photography and strategies of photographic image-making. Treating surrealism not only as an art-historical moment but a living body of attitudes, theories, and possibilities for thinking, art-making, and action, students will develop their own ideas and a body of work in formulating a surrealist praxis. Students will read texts by and about surrealists/surrealism, querying into the poetics, politics, and possibilities of photographic surrealism. The class will treat ideas including: erotic desire, pleasure, gender, chance, dreams/unconscious, walking, play/games, politics, race, anticolonial thought, freedom.
Students will study work by surrealist thinkers including Andre Breton, Louis Aragon, Aime Cesaire, Georges Bataille, Maya Deren, and Claude Cahun; modern surrealist potes including Juliana Huxtable and Billy-Ray Belcourt; and contemporary theorists such as Rosalind Kruass, Susan Laxton, Angela Carter, and Tina Campt. Artists of special focus will include: Hans Bellmer, Claude Cahun, Lee Miller, Dora Maar, Man Ray, Jacques-Andre Boiffard, Pierre Molinier, Maya Deren, John Akomfrah, and Aruther Jafa. Students will also engage contemporary Afrosurrealism based in photography and film, e.g. Beyonce's 'Lemonade,' Donald Glover's 'Atlanta,' Boots Riley's 'Sorry to Bother You,' and Jordan Peele's 'Get Out.' Students write two short analytic essays and a culminating research essay synthesizing ideas from across the semester. Students will also engage in generative photographic exercises designed to break habitual attitudes toward seeing and staging, as they build a focused body of personal work. Research, writing, and studio practice unfold in conjunction with one another, providing students with a working model for synthesizing art history and theory, political engagement, and making. PrerequisitesStudio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Ghost in the Chamber: Surrealism and Photography | 3098 (001) | Kate O'Neill, Jeremy Biles | Fri
9:00 AM - 11:15 AM In Person |
Description
This interdisciplinary studio symposium course introduces students to key principles and practices of surrealism with particular focus on theories of photography and strategies of photographic image-making. Treating surrealism not only as an art-historical moment but a living body of attitudes, theories, and possibilities for thinking, art-making, and action, students will develop their own ideas and a body of work in formulating a surrealist praxis. Students will read texts by and about surrealists/surrealism, querying into the poetics, politics, and possibilities of photographic surrealism. The class will treat ideas including: erotic desire, pleasure, gender, chance, dreams/unconscious, walking, play/games, politics, race, anticolonial thought, freedom.
Students will study work by surrealist thinkers including Andre Breton, Louis Aragon, Aime Cesaire, Georges Bataille, Maya Deren, and Claude Cahun; modern surrealist potes including Juliana Huxtable and Billy-Ray Belcourt; and contemporary theorists such as Rosalind Kruass, Susan Laxton, Angela Carter, and Tina Campt. Artists of special focus will include: Hans Bellmer, Claude Cahun, Lee Miller, Dora Maar, Man Ray, Jacques-Andre Boiffard, Pierre Molinier, Maya Deren, John Akomfrah, and Aruther Jafa. Students will also engage contemporary Afrosurrealism based in photography and film, e.g. Beyonce's 'Lemonade,' Donald Glover's 'Atlanta,' Boots Riley's 'Sorry to Bother You,' and Jordan Peele's 'Get Out.' Students write two short analytic essays and a culminating research essay synthesizing ideas from across the semester. Students will also engage in generative photographic exercises designed to break habitual attitudes toward seeing and staging, as they build a focused body of personal work. Research, writing, and studio practice unfold in conjunction with one another, providing students with a working model for synthesizing art history and theory, political engagement, and making. PrerequisitesStudio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Advanced Black and White Photography | 3511 (001) | Galit Julia Aloni | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course refines and expands Black and White skills learned in previous classes. It is geared towards students, who seek to deepen a conceptualized approach to b/w photographic imagery for their work. It is covering a wide gamut of analogue and digital techniques, regarding b/w images as contemporary means of artistic expression and engagement with our world. The course is designed to allow a rigorous focus on individual narratives in an advanced production pace and surrounding. The amalgamation of conceptual inquiry and aesthetic outcome is the very center of this class, seeking to synthesize meaning and making on the backdrop of the historical ballast and beauty of this field.
PrerequisitesPHOTO 1001 and PHOTO 2011 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| PHOTO: Junior Seminar: Building a Sustainable Practice | 3922 (001) | Lali Khalid | Fri
9:00 AM - 3:00 PM In Person |
Description
Junior Seminar helps students build essential professional skills for life after graduation, focusing on developing a sustainable practice based on their strengths and working style. This five-hour studio seminar offers flexible time for individual mentoring, guest speakers, field trips, extended critiques, and dedicated work time, fostering both professional growth and creative community. Through hands-on projects, students create websites, CVs, grant proposals, and artist statements while learning how to tailor these materials for different opportunities. As one of SAIC's four required Junior Seminars, this course provides structure and support within the school's open, interdisciplinary curriculum, helping students confidently navigate their future careers.
PrerequisitesPrerequisite: Sophomore seminar course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Public Light and Space | 4032 (001) | Jan Tichy | Thurs
9:00 AM - 3:00 PM In Person |
Description
Public Light and Space explores how artists use light to shape public environments, creating works that invite interaction, alter perception, and transform shared spaces. The course engages with histories and theories of public art while critically examining the dynamic role of light in selected movements and practices. Students will conceptualize and plan site-responsive projects for specific locations across Chicago, with attention to methods such as digital projection, controlled light sources, and light-responsive materials.
The course offers a distinctive opportunity: a collaboration with Public Sound & Space (led by Austen Brown) to produce new large-scale projection and sound works for Art on the Mart, the monumental projection site on the historic Merchandise Mart building. Each student team will design an original artwork to be exhibited nightly for six weeks, reaching an audience of nearly 300,000 viewers. A sequence of technical workshops supports skill development, while visiting artists, critics, and community members provide feedback throughout the creative process. The semester culminates in the public debut of student works on one of the world's largest projection canvases. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| PHOTO: Senior Studio Seminar | 4913 (001) | Jonas Becker | Wed
9:00 AM - 3:00 PM In Person |
Description
This interdisciplinary capstone, with an emphasis on contemporary photography and visual culture, is structured as an intensive critique and mentoring class focused on the development and presentation of culminating work at the end of the BFA and the continued progression of studio work beyond the BFA exhibition. The course supports the production of self-initiated work, a successful BFA show and a road map for a sustainable art practice after graduation. Preparations for the BFA exhibition include workshopping project proposals, budgets, production schedules, the development of new work and an array of possible final presentation forms.
Readings, screenings and discussions will examine useful models of participation in cultural production and a critical framework for analyzing a range of platforms to share work online, in print and exhibition. Studio visits will provide insight into the day-to-day life of artists at various stages in their career ranging from current SAIC grad students to working professionals. Online and printed portfolios utilizing an ever-evolving archive of work will be refined along with professional supporting materials such as statements, CVs and artist talks necessary for a professional practice beyond graduation. PrerequisitesPrerequisite: Professional practice course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Photographic Imaging Technical Seminar | 5005 (001) | Alex Wieder | Tues
3:30 PM - 6:15 PM In Person |
Description
This graduate-level course provides an in-depth exploration of the technical and conceptual aspects of photography. Students will gain certifications to use department equipment and facilities, while learning about workflow, acquisition, and output capabilities. The course emphasizes both technical skill development and individual project work, allowing students to troubleshoot and resolve challenges while producing work for critique. With a focus on both analog and digital processes, the course accommodates students with diverse technical backgrounds, offering advanced training in photographic methods and tools.
|
Class Number |
Credits |
DepartmentLocation |
| Graduate Photography Seminar | 5006 (001) | Oliver Sann | Wed
12:15 PM - 3:00 PM In Person |
Description
This graduate level studio seminar course is a hybrid of reading, discussion, making and critique, designed to pursue positions in historical and contemporary philosophy, critical analysis, and current thought relevant to photography and visual literacy. Throughout the semester, the course aims to explore the past and future of visual media and to look at its discourse in relation to life as an artist in the greater realm of culture, society and politics. Course programming includes critical readings, short and informal writing assignments, work and research presentations.
|
Class Number |
Credits |
DepartmentLocation |
| Grad Projects:Photography | 6009 (001) | Lali Khalid |
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:Photography | 6009 (002) | Kristin Taylor |
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:Photography | 6009 (003) | Alan Labb |
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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