A wide shot of a ceramics studio, featuring students working with pottery wheels and other tools.
Ceramics

Undergraduate Overview

Ceramics Undergraduate Overview

As a Bachelor of Fine Arts (BFA) student studying in the Ceramics department, you will develop close relationships with the department faculty who will guide your explorations and offer insight and inspiration to your artistic practice. Faculty are themselves working artists whose work appears in exhibitions, galleries, and museums around the world.

The undergraduate offerings provide unique conceptual and technical courses in the following areas:

  • Beginning pottery courses: students develop skills in throwing, learn the complexities of glazing and firing, and develop a vocabulary in vessel aesthetics.
  • Sculpture courses: students explore clay's potential in its many forms—fired, unfired, ready-made, plastic, or powder.
  • Multilevel courses: offered in vessels, sculpture, and theory. These courses vary in content each semester as the faculty changes.

Students are encouraged to explore the full range of ceramics as a contemporary art medium, creating vessels, installations, and work that crosses boundaries and incorporates sculpture, fashion, architecture, technology, and more. In addition to wheel throwing and technical studies, selected course topics include Potting for Pleasure and Protest, Clay as Chameleon, Clay Ecology, Musical Clay, and courses that focus on the 3D ceramic printer, moldmaking, and the human figure.

Undergraduate Admissions Requirements & Curriculum Overview

As students enrolled in ceramics courses, you will have access to:

  • Senior studios (application required)
  • Fully equipped mold-making and casting facility
  • Free bulk materials—clay, glazes, and kiln firing

Additionally, the city of Chicago is a major resource for ceramics students, with its rich terra cotta architectural heritage, the Art Institute of Chicago ceramics and glass collections, as well as galleries that show ceramic sculpture and pottery exclusively.

  • 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.

  • Studio69
    • 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 3900 (3)
    • CAPSTONE 4900 (3)
    • Studio Electives (48)
    		 
    Art History15
    • ARTHI 1001 World Cultures/Civilizations: Pre-History—19th Century Art and Architecture (3)
    • Art History Elective at 1000 level (3)
    • Art History Electives (9)
    		 
    Liberal Arts30
    • 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)
    		 
    General Electives6
    • Studio, Art History, Liberal Arts, AAP, or EIS
    		 
    Total Credit Hours120

    * BFA students must complete at least 6 credit hours in a class designated as "off campus study." These credits 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 With Distinction—SAIC Scholars Program: The SAIC Scholars program is a learning community of BFA students pursuing rigorous study in both their academic coursework and their studio pathways. There are two opportunities for interested students to apply to the SAIC Scholars Program: at the time of admission to the school, and after they have completed 30 credits of study at SAIC. Students pursuing the latter option are required to formally submit an application to the Undergraduate Division. Once admitted to the SAIC Scholars Program, students are required to successfully complete a minimum of six designated scholars courses. Students who complete the program will graduate with distinction.

    BFA in Studio with Thesis Option (Liberal Arts or Visual Critical Studies): BFA students may complete a nine-credit, research-based academic thesis as part of their studies within the 126 credits for the BFA in Studio degree. BFA with Thesis course sequences are offered over 3 semesters through the departments of Liberal Arts or Visual and Critical Studies (VCS). Students who are interested in one of the thesis options should follow the steps outlined below in the beginning of the junior year.

    Requirements for the BFA: Studio Art with Liberal Arts Thesis

    Step One: Students are required to meet with the Chair of the Liberal Arts department in the beginning of their junior year. 

    Step Two: With the Department Chair's approval, the student enrolls in the following courses beginning in the spring term of their junior year:

    • SOCSCI or HUMANITY 3900 Academic Research and Writing (3 credits)
    • LIBARTS 4800 Undergraduate Thesis: Research/Writing I (3 credits)
    • CAPSTONE 4900 Liberal Arts Undergraduate Thesis: Research/Writing II (3 credits)

    Step Three: The completed thesis must be approved by both the Thesis II instructor and the Chair of Liberal Arts. Students must make a formal presentation and participate in the Undergraduate Thesis Symposium in their senior year. 

    Requirements for the BFA: Studio Art with Visual and Critical Studies (VCS) Thesis

    Step One: Students are required to meet with the Visual and Critical Studies Undergraduate Coordinator in or by the beginning of their junior year.

    Step Two: With the VCS Coordinator's approval, the student enrolls in the first of the three-course sequence beginning in the spring term of their junior year:

    • VCS 3010 Tutorial in Visual & Critical Studies (3 credits)
    • VCS 4800 Undergraduate Thesis Seminar: Research & Writing I (3 credits)
    • CAPSTONE 4900 VCS Undergraduate Thesis Seminar: Research & Writing II (3 credits)

    Step Three: Completion of thesis must be approved by both the Thesis II instructor and the VCS Undergraduate Coordinator. Students must make a formal presentation and participate in the Undergraduate VCS Thesis Symposium in the senior year.

    Total credits required for minimum residency60
    Minimum Studio Credit42

Course Listing

Title Catalog Instructor Schedule

Description

This course provides an introduction to clay as a material. Participants will be introduced to a wide variety of methods and techniques to build, decorate, and glaze ceramic. Demonstrations in Hand-building, coiling, slap-building and surface application including glaze development and application, slip decoration and firing methods, will give students a proficiency in working with clay and in the ceramic department. Introductions to the rich and complex history of ceramic through readings, lectures and museum visits, will provide students with exposures to the critical discourse of contemporary ceramic. This is primarily a beginner's course but open to all levels of students.

Readings will vary but typically include, Hands in Clay by Charlotte Speight and John Toki. Vitamin C: Clay and Ceramic in Contemporary Art by Clare Lilley. Ten thousand years of pottery by Emmanuel Cooper. 20th Century Ceramics By Edmund de Waal. Live Form: Women, Ceramics, and Community by Jenni Sorkin. The course will look at artist like Magdalene Odundo, George E. Ohr, Shoji Hamada, Roberto Lugo and Nicole Cherubini as well as historic ceramic from the Art Institutes of Chicago?s collection.

Students are expected to complete 3 projects by the end of the semester, Biweekly readings will be part of the course.

Class Number

1170

Credits

3

Department

Ceramics

Location

280 Building Rm M152

Description

This course will focus on developing beginning and continuing skills on the wheel. Students will be introduced to fundamental methods for using the wheel as a tool to create vessels with consideration of their meaning and consequence and stretch the boundaries of utility. In addition to the design and structure of functional objects, this course will familiarize students with the working properties of ceramic material, firing methods, and glazes.

We will look at artists working both in traditional and non-traditional methods. Artists will vary, but some we will look at include: Edmund de Waal, Alleghany Meadows, Gerrit Grimm, Mike Helke, Steve Lee, and more. Readings will include articles covering topics about the convergence of fine art and craft, how objects affect our daily life and rituals, the place of craft within contemporary society. Specific authors may be : Chris Staley, Glenn Adamson, Jenni Sorkin, Okakura Kakuzo and Edmund de Waal

Projects vary, but typically there are 5-6 assignments in the course with each assignment consisting of 3-20 pieces of finished work with additional research in glaze and firing processes. Students will also have readings and responsibilities with firing work.

Class Number

1177

Credits

3

Department

Ceramics

Location

280 Building Rm M153

Description

This intro course will allow students to build upon and deconstruct our preconceived notions of what a 'pot' is. Can a pot be a subversive act of defiance? Can it express pleasure, grief or discomfort? We will explore what a pot can say and do beyond mere function. Investigating materiality, process, and conceptual frameworks the pot will serve as a form through which we?ll unpack issues ranging from the primordial to the celestial. Students will learn technical ceramic processes while examining the histories, practices, and conceptual potentialities of the vessel.

We will look at artists who employ the vessel in their practice in a critical, subversive, personal and humorous ways. Some of the artists include Rubi Neri, Betty Woodman, Kathy Butterly, Theaster Gates, Sahar Khouri, Bari Ziperstein and more. Readings will include excerpts from ?Documents of Contemporary Art: CRAFT? and authors such as Glen Adamson, Edmund de Waal and Tanya Harrod.

Students should expect to produce a body of work consisting of assigned and self directed projects to be presented in a culminating midterm and final critique.

Class Number

2128

Credits

3

Department

Ceramics

Area of Study

Community & Social Engagement, Art/Design and Politics

Location

280 Building Rm M153

Description

This multilevel class is for students with or without experience in wheel throwing. Beginning students are introduced to ideas, materials and techniques for throwing vessels. They acquire the necessary skills to construct and analyze a wide range of vessel forms. Intermediate and advanced students continue their individual development of throwing, glazing and firing kilns. Course discussions focus on issues around the vessel to acquire critical understanding of containers and their functions, as well as using the wheel as a means for constructing sculptural forms.

Class Number

1167

Credits

3

Department

Ceramics

Location

280 Building Rm M153

Description

A study of human anatomy for artists and representational figurative sculpting in clay, covering important and widely transferable formal principles and technical methods. In addition to traditional on-armature and handbuilding techniques, interested students will have access to ZBrush and may use it to produce maquettes and custom armatures through 3d printing and laser cutting. Qualified students may also have access to the Potterbot ceramic 3D printer for experimental use.

Readings, guides, and other reference materials will include excerpts from: Edouard Lanteri?s Modelling and Sculpting the Human Figure, Stephen Rogers Peck?s Atlas of Human Anatomy for the Artist, and Uldis Zarins? Anatomy for Sculptors: Understanding the Human Figure.

The course will be divided into three sections, the first two of which will involve the study of anatomy and sculptural technique. We will start with the bust (portraiture is optional), then move to the figure with scale studies of the torso, arms, and legs. Finally, students will have the opportunity to pursue a figurative project of their own design. Options for this project may include, but are not limited to: life-size or larger figures built in parts, figure groupings, formal and/or expressive figurative stylizations, and experimentation with the Potterbot ceramic 3D printer.

Class Number

2129

Credits

3

Department

Ceramics

Area of Study

Class, Race, Ethnicity, Gender and Sexuality

Location

280 Building Rm M152

Description

A survey of digital design, prototyping, and production methods, this course will familiarize students with the many ways artists and designers use digital technologies to facilitate traditional ceramic practices. Students will be introduced to basic CAD and modeling techniques using Rhino, Grasshopper, Blender, and ZBrush, and to both direct and indirect ceramic production methods using the PotterBot ceramic 3-D printer, AOC 3D scanners, and CDFS laser cutters & 3D printers. The emphasis is not on mastery of any particular program or process, but on introducing students to a wide range of techniques and concepts that they may fruitfully pursue in future work.

In addition, students will gain familiarity with the contemporary field of digital production, including current design and manufacturing technologies and the technical, formal, and conceptual uses to which they are put. Artists covered include Matthew Angelo Harrison, Jenny Sabin, Geoffrey Mann, Michael Eden, and Anya Gallaccio.

The course will be divided into three sections and will include four preliminary exercises and two projects. The first project focuses on direct digital production and will illustrate the mechanical and operational use of the Potterbot ceramic 3D printer. The second project will transition from direct to indirect production methods, from the acquisition of digital methods to their application, and on the incorporation of digital methods into students? established or developing practice.

Class Number

1165

Credits

3

Department

Ceramics

Area of Study

Digital Imaging

Location

280 Building Rm M152, 280 Building Rm 127A

Description

An exploration of 20th and 21st century conceptual ceramic vessels focusing on the ways in which artists harness the rich history of ceramic production for contemporary purposes. The course will cover ideas of utility, domesticity, decorativeness, and ritual; it will explore relationships between industrial and digital mass production and handcraft; it will examine vessels as metaphors for the body, as carriers of culturally specific meaning, and as expressions of personal and political identity.
We will begin our examination of the conceptual vessel with an overview of ceramic history from the Arts and Crafts Movement through to the advent of what Anne Wilson dubbed ?Sloppy Craft.? We will consider famous 20th century works such as Duchamp?s Fountain, Meret Oppenheim's Object, and Judy Chicago?s Dinner Party, as well as canonical ceramics figures such as George Ohr, Peter Voulkos, Robert Arneson, Kathy Butterly, Betty Woodman, Viola Frey, and Beatrice Wood. Other artists will include: Ai Weiwei, Roberto Lugo, Grayson Perry, Diego Romero, Arlene Shechet, Francesca Dimattio, Jessica Jackson Hutchins, Kukuli Velarde, Ann Agee, Liu Jianhua, Milena Muzquiz, Laurent Craste, Ehren Tool, Julie Green, and many others.

Readings will include excerpts from Glenn Adamson?s Thinking Through Craft and The Craft Reader, Elaine Cheasley Paterson and Susan Surette?s Sloppy Craft: Postdisciplinarity and the Crafts, and Moira Vincentelli?s Women and Ceramics: Gendered Vessels.

With a research intensive focus on the development of concepts, students will produce two vessel-based projects by any combination of hand building, wheel throwing, slip casting, 3d printing, and/or found object manipulation. In addition, students will prepare one 10-15 minute presentation on either a specific culture?s ceramic production or on a contemporary artist producing conceptual ceramic vessels.

Class Number

1173

Credits

3

Department

Ceramics

Area of Study

Community & Social Engagement

Location

280 Building Rm M152

Description

This course examines a variety of cultures (African, North, Central and South American, European, Asian) through the lens of their ceramic histories. Students will develop vessels based on a response to this cultural information. Each projects will be rooted in a discussion and a tour with a different curator at AIC. Topics addressed will be: gender and sexuality, domestic and ritual vessels, architecture and environment, politics and culture and class and industry.

Class Number

1168

Credits

3

Department

Ceramics

Location

280 Building Rm M153

Description

This class will explore both traditional and non-traditional approaches to firing and using clay to explore the topics of humor, exaggeration and perception. Historical references such as 1960s California Funk Ceramics, High Victorian Rococo, as well as more contemporary approaches to clay will serve as starting points for sculptural, installation and performative projects.

Class Number

2132

Credits

3

Department

Ceramics

Location

280 Building Rm M152

Description

Clay is an amazing material for an interdisciplinary artist to have in their repertoire. It can be as hard as stone one moment and you can also watch it disintegrate before your eyes the next. Throughout the centuries artists and craftspeople have capitalized on its transformative nature, sometimes even disguising it in plain sight. In this course we will see how artists from many backgrounds have used transformative materiality within their work.

ARTISTS/READINGS
Readings will vary but we will look at excerpts from articles like: Jo Dahn ¿New Directions in Ceramics¿, Jenni Sorkin ¿Pottery in Drag: Beatrice Wood and Camp¿, Paul Matheiu ¿The Radical Autonomy of Ceramics¿. A sample of artists whom we will be studying are: Bertozzi & Cassoni, Alexandra Engelfriet, Teri Frame, Shiyuan Xu, Claire Twomey, Marilyn Levine, Renata Cassiano Alvarez, Nina Hole, Jennifer Ling Datchuk, Andy Goldsworthy, Theaster Gates, Edmund de Waal, Magdalene Odundo and Pheobe Cummings

ASSIGNMENTS/PROJECTS
Course work will vary but typically includes weekly reading responses, biweekly mentoring meetings, engage in critique of both peer artwork as well as self-reflection on student¿s own work and a few small individual projects.

Prerequisites

Prerequisite: Must be a sophomore to enroll.

Class Number

2133

Credits

3

Department

Ceramics

Location

Lakeview - 1427

Description

This course takes students on a journey through the changing landscape of ceramic art, design, and production. Recent advances in rapid prototyping technologies provide designers and artists with more direct means for transforming concepts into physical form. In this course, students explore various ways to apply advanced technologies to ceramic design and production. Students will acquire basic skills in clay modeling methods, plaster mold making, slip casting, 3D Scanning, digital modeling, and digital output methods including 3D Printing and Laser Cutting. Basic knowledge for Rhino and/or other 3D modeling software is required. The technologies and methods for ceramic production have been developing over the course of thousands of years, often linked to specific material/cultural histories. Digital tools afford makers the ability to create, manipulate, distort, and ideate without the constraints of the ceramic process. Through slide lecture, readings, group discussions, demonstrations, and self directed projects, we will consider ceramic production methods of the past and how they influence contemporary art and design practices. In this course we will ask the questions: What are the benefits and the challenges of using ceramic materials? How can we use digital tools to assist in the ideation, prototyping, and the production of ceramic objects? How can we use ceramic materials to assist in the ideation, prototyping, and production of digital objects? What is the interplay between the digital object and the ceramic object?

Class Number

1175

Credits

3

Department

Ceramics

Area of Study

Product Design, Digital Imaging, Sustainable Design

Location

280 Building Rm M153

Description

This course focuses on drawing as a tool for both two and three-dimensional representation. This course will emphasize observation, experimentation, and technical exploration along with personal expression. Employing various tools and techniques, students explore the relationships of drawing on paper and clay. Students are given the opportunity to expand their drawing experience into other mediums and dimensions. The ceramic medium challenges artists and designers to draw in space, to marry ideas in surface, color and form. Projects include working with drawing as a tool for addressing issues in object making, as well as exploring drawing in clay as finished artwork. Work focuses on the sensorial, the formal, and the expressive proprieties of mark-making in clay, which is a wonderfully direct and reactive medium. Eye-hand synchronic and emotional response will be used not only to record objects or events but make visible the world of our imagination.

Class Number

1164

Credits

3

Department

Ceramics

Location

280 Building Rm M152

Description

Historically understood as the ecstatic experience of religious consciousness, mysticism has grown to encompass all visionary human experience and the pursuit of ¿ultimate truth¿. We will travel down several veins of this rhizomatic structure in the hopes of understanding its complex form. This course combines two modalities: extensive studio time and reading/discussion of mystical, esoteric, and occult texts. Emphasis will be on ceramic hand building, process, and conceptual exploration. Some of the topics and figures discussed will be mystery, magic, paganism, surrealism and dreams, folk horror, denkbild, parapolitics, pre-Columbian relics, Stanley Kubrick, David Lynch, Louise Bourgeois, Rene Magritte, Huma Bhabha, Arlene Shechet and others. You can expect to produce a body of work consisting of assigned and self-directed projects to be presented in a culminating midterm and final critique.

Class Number

2130

Credits

3

Department

Ceramics

Location

280 Building Rm M153

Description

The characteristics and implications of clay in all its states-dry, plastic, readymade, and so on-are explored in an advanced conceptual context. This course examines the subjective role of materiality. Expanding the language of clay, and the approaches to it via nonconventional methods of manufacture and installation, the involvement of recycling/ repurposing found ceramic objects and material will be the intent of the class. Some of the artist we will be looking at are Breanda Tang, Phoebe Cummings, Morel Doucet, Caroline Slotte, Magdolene Dykstra and Kjell Rylander

Class Number

2131

Credits

3

Department

Ceramics

Location

280 Building Rm M152

Description

This technical studies course will explore glaze materials, the geology of ceramic materials, ceramic chemistry, glaze and clay body formulation, glaze colors, the function of heat, firing atmosphere, and glaze characteristics, behaviors and defects. The spectrum of raw ceramic materials become familiar to students through weekly lectures and discussions, numerous experimental glaze material tests and data recording and analysis.

Students will learn how to safely use and exploit a wide variety of ceramic materials in order to develop a broader understanding of applications for personal expression. We will explore a wide range of glaze formulations while building a comprehensive foundation for understanding how materials can be used and formulated to yield specific and reproducible results. At the conclusion of this course, each individual will have the tools to precisely test and produce glaze formulations, understand how to use the various tools present in the glaze lab, and the ability to interpret written and fired formulae results.

This class is designed as a half lecture and half lab course. Course work includes weekly reading, 10 glaze test assignments, mid-term and final quizzes and final critique.

Class Number

1163

Credits

3

Department

Ceramics

Area of Study

Art and Science

Location

280 Building Rm M153

Description

This course will serve to illuminate and complicate the opportunities and challenges associated with making ceramics on the throwing wheel. Invented in Mesopotamia roughly 5000 years ago, the potter's wheel was a tool intended to speed up and increase consistency in the production of utilitarian ceramic vessels. The spectrum of practitioners using the potters wheel today spans the world and ranges from traditional artisans, design and crafts people to contemporary artists. Working with regard to this dynamic reality, this course will work to address and accommodate all manner of interests with the goal to enable students to make diligent use of the potter?s wheel, both in consideration of historical and contemporary methods and dialogs.
Advanced Throwing is for students already proficient in throwing techniques Pre rec. Wheel Throwing Fundamentals and Intermediate Throwing CER

We will look at artists working both in traditional and non-traditional methods. Artists will vary, but some we will look at include: Yuta Segawa, Dove Drury, Adam Silverman, Donte K. Hayes, Carl-Harry St?lhane, Gerrit Grimm, Steve Lee, and more. Readings will include articles covering topics about the convergence of fine art and craft, how objects affect our daily life and rituals, the place of craft within contemporary society. Specific authors may be : Jenni Sorkin, Okakura Kakuzo and Edmund de Waal

Students should expect to produce two bodies of work consisting of 20-30 finished pieces during the semester, to be presented in mid-term and final critiques.

Prerequisites

Must have completed one of CER 1001, CER 1012, CER 2005, CER 3000, CER or 3010

Class Number

1169

Credits

3

Department

Ceramics

Location

280 Building Rm M153

Description

This course is a forum for in-depth critiques, technical, conceptual, and professional practice discussions based on the student¿s practice and research. The goal of this class is to provide students information and guidance on how they can continue with their art practice after school. Each student enrolled in the course will be assigned a studio space within the department. The course is open to Seniors only who have previously taken 9 credit hours of Ceramics classes, 2000-level and above. Students signing up for this class must also be enrolled in any 3 credit hour Ceramics class, 2000-level and above. Seniors may enroll in this course for two consecutive semesters only. Some of the books we will use as a reference for this class may be Living and Sustaining a Creative Life: Essays by 40 by Sharon Louden and ART/WORK: Everything You Need to Know (and Do) As You Pursue Your Art Career. Additionally, students will present to the class about an artist/thinker and/or participate in a skill sharing workshop. The format for this course is primary individual and group meetings, readings, presentations, field trips, exhibitions, and group critiques. Additionally, we will have a discussion with guest artists speaking about their work and the technicalities of how to continue with their art practice. Students will learn how to document, install, and promote their work. It is expected of the students to self-direct their own project culminating with a final exhibition project as part of their BFA or Gallery 1922. This course requires instructor consent. Fill out the form found at this link, https://tinyurl.com/35b26s78, to submit your portfolio and list of ceramics classes taken in the ceramics department.

Prerequisites

Prerequisite: 3900 course

Class Number

1143

Credits

3

Department

Ceramics

Location

280 Building Rm 109

Description

This interdisciplinary studio seminar based in the ceramics department is designed for grad students interested in exploring the endless possibilities that clay offers as a material adapted into individual studio and research practices. The first portion of this class will be technically based to learn different modes of construction, mold making, as well as different glazing and firing techniques in ceramics. The second portion will be focused on independent projects, advising and critical discussions.

Readings will be a combination of history of ceramics, contemporary artist, and technical information. Some of the contemporary artists using clay within contemporary art practice we will study in this course include Cannupa Hanska Luger, Elizabeth Jaeger, Woody De Othello, and more. There will be discussions on the history of ceramics and how contemporary artists use clay in performance, sculpture, design, architecture, and print media.

Students should expect to produce a consistent body of work to be presented in a culminating course critique at the end of the session. Junior and Senior-level undergraduate students are welcome to enroll in this course and should email the instructor to seek authorization to register.

Class Number

1910

Credits

3

Department

Ceramics

Area of Study

Class, Race, Ethnicity, Art/Design and Politics, Gender and Sexuality

Location

280 Building Rm M153

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