David Lozano

In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.

In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership.

Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.

In this course we will focus on disciplinary and interdisciplinary art and design practices of contemporary art production. This team-taught, year-long class explores the materials and techniques of surface, space, and time (2D, 3D, and 4D), as well as the connections and interplay of these areas. Core Studio integrates the formal with the conceptual, traditional with the contemporary, and makes visible a variety of approaches in current cultural production in order to foster the development of students? emerging practices as makers and thinkers.

In this interdisciplinary studio course students will be authorized to use a variety of school shops, materials and equipment; including the woodshop, plaster studio, digital lab, sewing machine, hand tools, sound and video production, digital workflows and principles of visual fundamentals. This is a hands-on making class, faculty present artists and content related to a particular toolkit and, or project theme. Every section of Core Studio has shared learning outcomes which are uniquely realized by each Core faculty partnership.

Students should expect a fast-paced studio environment. In Core Studio students will complete short assignments as well as longer multi-week projects. Assignments are designed to help students develop their own ideas in relation to the materials, processes, and themes presented by faculty.

This studio course focuses on themes, practices, contexts, and questions undertaken by contemporary artists and designers. Research Studio I is a course that asks students to begin to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This course engages with cultural institutions including: museums, galleries, libraries and archives as resources of critical engagement.

Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems.


Assignments in this course are faculty directed, open-media, interdisciplinary and idea based. The projects are designed to help students recognize their work habits, biases, strengths, and weaknesses. Students will experience a wide range of research methods and making strategies. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others.

In this course we will focus on the development of artistic research skills for students already engaged in a practice. Students take this required course in order to experience and develop a variety of research methodologies, both conventional and alternative, which include utilizing collections and archives in the School and the extended community.

Students will undertake various types of research activities: a) collecting and classification, b) mapping and diagramming, c) systems of measurement, d) social interaction, e) information search systems, f) recording and representation, and g) drawing and other notational systems.

Faculty directed, open-media, interdisciplinary, idea based assignments are designed to help students recognize work habits, biases, strengths, and weaknesses. Through this course work students will be able to identify the most productive research methods and making strategies to bolster their emerging studio practice. Critique as an evaluative process used in art and design schools, is a focus in this course. Various methods and models of critique are used in order to give students the tools to discuss their own work and the work of others.

This course explores bold, excessive, and emotionally charged gestures in art, focusing on artists who challenge traditional aesthetics through vibrant color, unconventional materials, and provocative themes. From rhinestones and glitter to deeply personal narratives, we¿ll examine the ways artists embrace what has been dismissed as ¿low-brow¿ to create powerful, meaningful work. Artists such as Nick Cave, Kehinde Wiley, Jeffrey Gibson, Jim Hodges, Pepón Osorio, and Ebony Patterson will guide our conversations and projects, as we consider how personal and cultural histories intersect with contemporary aesthetics. Adding to this discourse will be the big ideas found in the sublime ¿ historically and today. As we ask what makes something ¿truly awesome,¿ we¿ll explore the sublime¿s power in both art and everyday life.
Students will produce three artworks for critique, with at least one project developed as an installation. Readings will include writing on the Sublime by Edmund Burke, chapters from David Batchelor¿s Chromophobia, and Susan Sontag¿s Notes on Camp.