Course Search - Degree Programs | School of the Art Institute of Chicago

Roger Reeves

Title	Catalog	Instructor	Schedule
Introduction to Clay	1000 (001)	Javier Jasso	Mon/Wed 6:45 PM - 9:15 PM In Person
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
Introduction to Photographic Image Making	1001 (001)	Galit Julia Aloni	Mon 9:00 AM - 3:00 PM In Person
Description This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.	Class Number 1510	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
Reading Art	1001 (001)	Alexander W Jochaniewicz	Fri 8:30 AM - 11:15 AM In Person
Description Reading Art is a seminar that orients students to college studies and emphasizes students' advancement of college-level critical reading and thinking skills. Students learn how to read and analyze artworks using the formal vocabulary of art and design, as well as how to read about art in art history textbooks, scholarly journals, and other sources. Students improve their ability to process, retain, and apply information by using active learning strategies and graphic organizers, including a schematic note-taking system. In addition to weekly readings and exercises, students complete an in-depth synthesis project on an artwork of their choosing. Regular museum visits complement class work.	Class Number 1003	Credits 3	Department Liberal Arts Location MacLean 501
Introduction to Designed Objects	1001 (001)	Cassandra Scanlon	Mon 9:00 AM - 3:00 PM In Person
Description This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance (both subjective and objective). Emphasizing thinking through making; students students build their visual vocabulary and develop an understanding of the design process. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer. The course will explore the intentionality of object design, exploring the works of a ranging from James Dyson to Ron Arad to Zaha Hadid. Readings and screenings will vary but typically include Mu-Ming Tsai's Design Thinking and Gary Hustwit's Objectified. Students should expect to produce a body of work consisting of several minor exploratory projects and two fully fleshed out finished Objects (mid-term and final). This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1257	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1256
Ceramics: Wheel Throwing Fundamentals	1001 (001)	Cassandra Scanlon	Mon/Wed 6:45 PM - 9:15 PM In Person
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
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (001)	Artie Foster	Tues 6:45 PM - 9:30 PM In Person
Description Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.	Class Number 1026	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Visual Communication	1001 (001)	Jiwon Son	Mon 9:00 AM - 3:00 PM In Person
Description This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture. Prerequisites Corequisite: VISCOM 1002.	Class Number 1777	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1117
Introduction to Architecture/Interior Architecture	1001 (001)	Nathan Rennich	Mon/Wed 6:45 PM - 9:15 PM In Person
Description Introduces the meaning and making of architecture and interior architecture through individual and group design projects. Students learn design processes by experimenting with materials and exploring architectural and interior architecture representation, and measure the implications of their work on broader cultural contexts. Students work on design projects using the latest software and digital tools, and develop techniques for integrating analog and digital design and fabrication processes. Students research historic precedents and contemporary culture and design to inform their work. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1009	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1241
Introduction to Photographic Image Making	1001 (002)	Catherine Gass	Mon/Wed 6:45 PM - 9:15 PM In Person
Description This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.	Class Number 1511	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
Introduction to Designed Objects	1001 (002)	Sara Prado	Wed 9:00 AM - 3:00 PM In Person
Description This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance (both subjective and objective). Emphasizing thinking through making; students students build their visual vocabulary and develop an understanding of the design process. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer. The course will explore the intentionality of object design, exploring the works of a ranging from James Dyson to Ron Arad to Zaha Hadid. Readings and screenings will vary but typically include Mu-Ming Tsai's Design Thinking and Gary Hustwit's Objectified. Students should expect to produce a body of work consisting of several minor exploratory projects and two fully fleshed out finished Objects (mid-term and final). This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1258	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1256
FYS I: The Writing Project	1001 (002)	Joanna Anos	Tues 12:15 PM - 3:00 PM In Person
Description At the heart of the writing project is the writing process: from sketching to planning, free writing to drafting, envisioning to revisioning. Writing requires both the creative and critical mind; it asks for patience with not knowing and provides us with the means--if we allow ourselves to follow where it may lead--to get from nowhere to somewhere, from not having the words to finding our voice. Process is primary in this writing seminar: students will explore their own and others' ways of making, read artists' writings about art, write in a variety of short forms, including the essay, and pursue a longer, multi-part writing project.	Class Number 1323	Credits 3	Department Liberal Arts Location MacLean 111
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (002)	Mikolaj Czerwiński	Wed 8:30 AM - 11:15 AM In Person
Description Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.	Class Number 1027	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Visual Communication	1001 (002)		Tues 9:00 AM - 3:00 PM In Person
Description This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture. Prerequisites Corequisite: VISCOM 1002.	Class Number 1778	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
Introduction to Architecture/Interior Architecture	1001 (002)	Adel Machacca	Thurs 9:00 AM - 3:00 PM In Person
Description Introduces the meaning and making of architecture and interior architecture through individual and group design projects. Students learn design processes by experimenting with materials and exploring architectural and interior architecture representation, and measure the implications of their work on broader cultural contexts. Students work on design projects using the latest software and digital tools, and develop techniques for integrating analog and digital design and fabrication processes. Students research historic precedents and contemporary culture and design to inform their work. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1019	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1407
Introduction to Photographic Image Making	1001 (003)	Cecil McDonald, Jr.	Tues 9:00 AM - 3:00 PM In Person
Description This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.	Class Number 1512	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
Introduction to Designed Objects	1001 (003)		Wed 9:00 AM - 3:00 PM In Person
Description This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance (both subjective and objective). Emphasizing thinking through making; students students build their visual vocabulary and develop an understanding of the design process. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer. The course will explore the intentionality of object design, exploring the works of a ranging from James Dyson to Ron Arad to Zaha Hadid. Readings and screenings will vary but typically include Mu-Ming Tsai's Design Thinking and Gary Hustwit's Objectified. Students should expect to produce a body of work consisting of several minor exploratory projects and two fully fleshed out finished Objects (mid-term and final). This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 2230	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1407
FYS I: The Places You'll Go	1001 (003)	Peter Thomas	Wed 8:30 AM - 11:15 AM In Person
Description This writing course emphasizes close reading of texts, critical thinking, and the analysis of problems and concepts arising in works about travel experiences through the writing of essays. We will use the writing process as a means to achieving insight, and students will be asked to employ brainstorming, freewriting, drafting, outlining, re-writing, revising, and editing. Throughout the term, students will be asked to reflect on their development as they establish their own writing process that will enable them to develop new understandings and clearly communicate them in essays for this course and beyond. Writer Pico Iyer says, ¿We travel, initially, to lose ourselves; and we travel, next, to find ourselves.¿ New places are alluring. New places are disruptive. In this course, we¿ll read accounts of those who ventured to distant lands and discovered new territories within themselves. We will read the likes of Langston Hughes, Bernard Cooper, Jamaica Kincaid, Flannery O¿Connor, George Orwell, Susan Sontag, and others, as we see what these writers found when they lost themselves abroad. Students will join the well-traveled, too, as they write about a not-usual place, even if it¿s right here in Chicago. In addition to short writing assignments and in-class journals, students should expect to write and revise 4 essays totaling 15-20 pages of formal prose.	Class Number 1303	Credits 3	Department Liberal Arts Location MacLean 816
World Cultures and Civilizations: Prehistory to the Nineteenth Century	1001 (003)	Sandra F. Racek	Thurs 3:30 PM - 6:15 PM In Person
Description Art has been many things to many people. This class introduces students to the history of art and art-like things on Earth from prehistory to ca. 1800 CE. It covers canonical examples from older scholarship alongside works and contexts emerging in recent art histories. Students will learn to perform basic art historical analysis and research, and the course will prepare them to form personal art histories, applying such art histories to their own work. The course surveys historical art in a global scope, from the beginnings of known culture to the dawn of the Industrial Revolution. It introduces students to a range of interdisciplinary frameworks for parsing the production, reception, and conceptualization of art. And it challenges students to think about the relationships between past and present, highlighting how later artists and cultures have engaged earlier art and history. There is a small amount of required reading each week-on average about 20 pages. Written work includes weekly reading responses, two in-class quizzes, an annotated bibliography project, and a take-home final exam.	Class Number 1028	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Introduction to Visual Communication	1001 (003)	Eliza Rosen	Wed 9:00 AM - 3:00 PM In Person
Description This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture. Prerequisites Corequisite: VISCOM 1002.	Class Number 1779	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
Introduction to Photographic Image Making	1001 (004)	Lali Khalid	Wed 9:00 AM - 3:00 PM In Person
Description This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.	Class Number 1513	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
FYS I: Copyrights and Wrongs	1001 (004)	Jennie Berner	Fri 12:15 PM - 3:00 PM In Person
Description In this writing-intensive course, we will explore the line between originality and plagiarism in a variety of fields including art, media, technology, music, business, entertainment, and medicine. In what contexts is copying an art? A science? A crime? How much should we be allowed to borrow from the work of artists and writers who have come before us? Do we owe them anything when we do? What are the economic, social, and political implications of copying? Readings will cover a range of subtopics such as genetic cloning, music sampling, artistic forgery, cultural appropriation, film adaptations, drug patents, fan fiction, body modification, and fair use. We will also analyze the work of artists and writers whose work speaks to some of these issues, including Kenneth Goldsmith, Fred Wilson, Jeff Koons, Sherrie Levine, DJ Dangermouse, and Jen Bervin. Writing assignments ? totaling 15-20 pages over the course of the semester ? will emphasize analysis, argument, research, revision, and other academic writing skills.	Class Number 1343	Credits 3	Department Liberal Arts Location Lakeview - 1427
Introduction to Visual Communication	1001 (004)		Thurs 9:00 AM - 3:00 PM In Person
Description This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture. Prerequisites Corequisite: VISCOM 1002.	Class Number 1810	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
Introduction to Photographic Image Making	1001 (005)	Lali Khalid	Thurs 9:00 AM - 3:00 PM In Person
Description This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.	Class Number 1524	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 106
Introduction to Visual Communication	1001 (005)		Fri 9:00 AM - 3:00 PM In Person
Description This research, discussion, and critique course develops a visual and verbal vocabulary by examining relationships between form and content, word and image. Study includes symbolic association and the problem of effective communication in a highly complex culture. Prerequisites Corequisite: VISCOM 1002.	Class Number 1813	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1114
Introduction to Photographic Image Making	1001 (006)		Tues 3:30 PM - 9:15 PM In Person
Description This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea. 'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs.	Class Number 1534	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 207
FYS I: Rebel Verse	1001 (006)	Suman Chhabra	Wed 8:30 AM - 11:15 AM In Person
Description In our class we will read contemporary poetry from authors responding to historic and current political injustices. We¿ll also read about the political events themselves to gain an understanding of the authors¿ creative works. The poems and poetry collections are written by individuals but they shed light on the political impacts that affect the collective of humanity. Readings often include works by Layli Long Soldier, Ilya Kaminsky, Rajiv Mohabir, and Don Mee Choi. In our FYS I class, we will develop our critical reading, writing, and thinking skills. This is a studio writing class in which we will focus on writing as a process. We will freewrite, formulate conceptual questions for the readings, write responses, and compose and revise 15-20 pages in multidraft essays. Students will direct the topic of the final essay based on their individual inquiry into a historic or current political event. FYS I develops college-level writing skills, prepares one for FYS II and upper-level Liberal Arts courses, and allows one to improve expressing their ideas in writing.	Class Number 1324	Credits 3	Department Liberal Arts Location Lakeview - 203
FYS I:Oration as Argumentation	1001 (007)	Deborah S. Hochgesang	Fri 8:30 AM - 11:15 AM In Person
Description Notable speeches in English from various historical periods and from diverse cultures will form the basis for this seminar, in which students will develop and advance their critical thinking, critical reading, and critical writing skills. Examples of such speeches include ¿Ain¿t I a Woman¿ by Sojourner Truth and ¿The Meaning of July Fourth for the Negro¿ by Frederick Douglass. In addition, other examples of effective and convincing argumentation such as Rev. Dr. Martin Luther King Jr.¿s ¿Letter from Birmingham Jail¿ will also be considered. Students will analyze these speeches and other texts in their historical or contemporary contexts as exemplars of rhetorical argumentation and learn, through discussion, oral presentations, and writing assignments, how to write successful argumentative essays that include arguments, counter-arguments and refutation. Students should expect to write 15-20 pages of formal, revisable writing in addition to homework and in-class workshops. First Year Seminar I provides students with guided experience in college-level writing, thereby forming the necessary foundation for First Year Seminar II and upper-level Liberal Arts classes.	Class Number 1344	Credits 3	Department Liberal Arts Location Lakeview - 1427
FYS I: Writing for Space-Making	1001 (009)	Mika Yamamoto	Tues 6:45 PM - 9:30 PM In Person
Description Writers can have the power to create space for communities that are marginalized in society, but this work is never easy. In this class, we will examine the works of writers who have attempted this and analyze the success and cost of such attempts. Our readings will include works by: Esme Weijun Wang, Rupi Kahur, Ryka Aoki, Patsy Mink, and others. We will also utilize SAIC¿s amazing resources like the Service Bureau, the Art Institute, the writing center, the diversity department, and Title IX office. In this class, students will exercise their voices and embrace the writing process. They will think of writing beyond what happens on the page.Towards this end, each class begins with mindfulness and connection activities. Students will be required to write weekly reflections, multiple drafts of an essay, and do a class presentation. Students in FYS I should expect to write 15 to 20 pages of formal, revisable writing. Attendance is extremely important and heavily weighted.	Class Number 1345	Credits 3	Department Liberal Arts Location Lakeview - 1428
Survey of Modern to Contemporary Art and Architecture	1002 (001)	Rhoda Rosen	Tues 8:30 AM - 11:15 AM In Person
Description This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.	Class Number 1029	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYSe: Laughing Matter	1002 (001)	Sophie Goalson	Mon 12:15 PM - 3:00 PM In Person
Description As an art form, humor is often considered menial and unrefined. In reality, the psychology of humor ¿ exactly what it is that makes something funny ¿ is complicated and requires careful mastery. This course will examine how writers and artists have historically used humor to reach audiences deeply, emotionally, and politically. Through works by Mark Twain, Franz Kafka, Calvin Trillin, Jade Chang, Percival Everett and others, we will get to the heart of what makes something funny, and how humor has changed over time. Students will build on foundational academics habits with weekly short writings. To complete the course, students must write 3 papers (one analytical, one argumentative, and one creative. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1341	Credits 3	Department Liberal Arts Location MacLean 919
Illustration Technologies Lab	1002 (001)	Kimberly Karen Viviano	Tues 3:30 PM - 4:45 PM All Online
Description Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1781	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Online
Arch/Inarch: Design Drawing	1002 (001)	Douglas Pancoast	Tues 9:00 AM - 3:00 PM In Person
Description This course is a comprehensive introduction to two-dimensional architectural and interior architectural representation. Students learn hand-drawing and digital techniques to produce orthographic, axonometric, isometric, and perspectival projections in individual and group projects. Students move between two- and three-dimensional representation, developing robust skills for design drawing. Typically the course will review the work of architects and designers throughout the history of architecture representation. Readings will vary and focus will be concentrated on understanding and putting into practice the mechanisms of drawing. Course work consists of building techniques and practice of drawing. Classes will develop incremental skills through assignments and projects that culminate into complex drawings and representations. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1010	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication Location Sullivan Center 1407
Survey of Modern to Contemporary Art and Architecture	1002 (002)	Alice Maggie Hazard	Thurs 8:30 AM - 11:15 AM In Person
Description This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.	Class Number 1030	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYSe:Near-Death Experiences	1002 (002)	Peter Thomas	Mon 8:30 AM - 11:15 AM In Person
Description This writing course emphasizes close reading of texts, critical thinking, and the analysis of problems and concepts arising in works about near-death experiences through the writing of essays. We will use the writing process as a means to achieving insight, and students will be asked to employ brainstorming, freewriting, drafting, outlining, re-writing, revising, and editing. Throughout the term, students will be asked to reflect on their development as they establish their own writing process that will enable them to develop new understandings and clearly communicate them in essays for this course and beyond. Some of us have had a near-death experience in which our survival felt in doubt. Almost all of us have had nearness-to-death experiences in which we glimpse the passing of some other person or creature and must contend with death?s significance. In this course, we?ll study short works that explore what nearness to mortality reveals to us. We?ll read Virginia Woolf, Tim O?Brien, Annie Dillard, Lu Hsun, Tobias Woolf, Wole Soyinka, and Nancy Mairs, among others, as we examine how death?s presence has impacted these writers in unanticipated ways. Students should expect to write and revise 3 major essays in addition to short writing assignments, totaling 15-20 pages of formal prose. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1321	Credits 3	Department Liberal Arts Location Lakeview - 206
Illustration Technologies Lab	1002 (002)	Kimberly Karen Viviano	Wed 6:45 PM - 8:00 PM All Online
Description Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1811	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Online
Arch/Inarch: Design Drawing	1002 (002)	Jaak Jurisson	Fri 9:00 AM - 3:00 PM In Person
Description This course is a comprehensive introduction to two-dimensional architectural and interior architectural representation. Students learn hand-drawing and digital techniques to produce orthographic, axonometric, isometric, and perspectival projections in individual and group projects. Students move between two- and three-dimensional representation, developing robust skills for design drawing. Typically the course will review the work of architects and designers throughout the history of architecture representation. Readings will vary and focus will be concentrated on understanding and putting into practice the mechanisms of drawing. Course work consists of building techniques and practice of drawing. Classes will develop incremental skills through assignments and projects that culminate into complex drawings and representations. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1011	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication Location Sullivan Center 1240
Survey of Modern to Contemporary Art and Architecture	1002 (003)		Mon 6:45 PM - 9:30 PM In Person
Description This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.	Class Number 1039	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
FYSe: Film Noir and Genre	1002 (003)	Jacob A Hinkson	Tues 3:30 PM - 6:15 PM In Person
Description In this writing intensive course, we will develop the skills of argument-driven writing as we examine film noir and the question of genre. What does it mean to look at a series of disparate cinematic texts as examples of the same textual category? Is ¿film noir¿ best defined by a pattern of visual motifs? Can the genre be better characterized by the repetition of various story structures, themes, and character archetypes? Or is ¿film noir¿ (and perhaps ¿genre¿ itself) a categorizing term which has outlived its usefulness as a way of understanding individual film texts? Students will explore these questions through an examination of three key films: The Big Sleep (1946), The Reckless Moment (1949), Devil in a Blue Dress (1995), and The Deep End (2001). Readings will include critical works by Raymond Borde, Étienne Cahumeton, Janey Place, Megan Abbott, and Joan Copjec. These materials will inform multiple argument-driven essays students will draft and revise over the course of the semester. In composing these essays, students will study thesis formation, rhetorical modes, and ways to incorporate sources into evidence-based arguments. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1342	Credits 3	Department Liberal Arts Location MacLean 818
Illustration Technologies Lab	1002 (003)	Kimberly Karen Viviano	Wed 8:15 PM - 9:30 PM All Online
Description Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1780	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Online
Survey of Modern to Contemporary Art and Architecture	1002 (004)	Hannah Gadbois	Tues 3:30 PM - 6:15 PM In Person
Description This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.	Class Number 1046	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
FYSe: American Poetry	1002 (004)	Alexander W Jochaniewicz	Thurs 8:30 AM - 11:15 AM In Person
Description This course will chronologically survey American poetry from its earliest periods to recent times. Students will be introduced to a wide spectrum of the finest poetry ever to be written, including (among others) poems from Phyllis Wheatley, Emily Dickinson, Robert Frost, Jean Toomer, Countee Cullen, e.e. cummings, Langston Hughes, Gwendolyn Brooks, Amit Majmudar, Terrance Hayes, Sherman Alexie, Garrett Hongo, and Natalie Diaz. Individual interpretations will be emphasized and slow-and-close reading will be emphasized, both in class and in formal writing assignments. In addition, students will be introduced to methods of literary study, appropriate terminology, and (art) historical contexts to help orient scholarship¿including how poets across time and space operate and innovate within literary conventions. Students will also write about poetry in both personal responses and formal analyses and will practice the process of writing, including prewriting, drafting, peer reviewing, and revising. FYSe develops college-level writing skills, prepares one for FYS II and upper level Liberal Arts courses, and allows one to improve expressing their ideas in writing. Prerequisites Must complete AAP: Academic Foundations Seminar (AAP1001) and Foundations Writing Workshop (AAP 1011)	Class Number 1322	Credits 3	Department Liberal Arts Location MacLean 919
Illustration Technologies Lab	1002 (004)	Richard Bresden	Thurs 3:30 PM - 4:45 PM In Person
Description Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1805	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1108
Survey of Modern to Contemporary Art and Architecture	1002 (005)	Christopher Cutrone	Wed 12:15 PM - 3:00 PM In Person
Description This course surveys developments in nineteenth and twentieth century art and architecture. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. Note: ARTHI 1001 (or its equivalent) is recommended as a prerequisite for ARTHI 1002.	Class Number 1042	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Illustration Technologies Lab	1002 (005)	Richard Bresden	Thurs 5:00 PM - 6:15 PM In Person
Description Digital visualization is essential to all contemporary creative communication. This class will familiarize students with the syntax, tools and methods of vector-based drawing and reinforce analogies to traditional methods of image-making covered in the First Year Program. Students will begin with an introduction to the computer as a graphic design tool: the relationship of vector to raster graphics and the peripherals. The focus on building proficiency with industry-standard Adobe Illustrator software will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. Students apply technical competencies to formal design problems during the second half of this course and in Beginning Graphic Design class. Prerequisites Corequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1814	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1108
Adv Survey Mod/Cont Art & Arch	1002 (06S)	James Elkins	Tues 12:15 PM - 3:00 PM In Person
Description This is an advanced course that surveys developments in nineteenth and twentieth century art and architecture. It is intended for BAAH students and Scholars Program students. Particular emphasis is placed on theoretical and critical issues, as well as the historical, intellectual, and socioeconomic changes that are reflected or addressed in the works of artists and architects. ARTHI 1201: Discussion Section for Advanced Survey of Modern to Contemporary Art & Architecture is required.	Class Number 2387	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
First Year Seminar Enhanced (EIS)	1003 (001)	Annette Elliot-Hogg	Tues 12:15 PM - 3:00 PM In Person
Description FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1348	Credits 3	Department Liberal Arts Location MacLean 919
First Year Seminar Enhanced (EIS)	1003 (002)	Diane Worobec-Serratos	Wed 8:30 AM - 11:15 AM In Person
Description FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1349	Credits 3	Department Liberal Arts Location MacLean 818
First Year Seminar Enhanced (EIS)	1003 (003)		Mon 6:45 PM - 9:30 PM In Person
Description FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1350	Credits 3	Department Liberal Arts Location MacLean 816
First Year Seminar Enhanced (EIS)	1003 (004)		Thurs 8:30 AM - 11:15 AM In Person
Description FYS (EIS) are theme-based writing courses designed for first-year international students who have successfully completed their English for International Students Fluency course, with an emphasis on teaching Academic English skills to English Language Learners. Students will improve their Academic English skills by learning to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in future course work at SAIC. FYS (EIS) sections offer different topics. For example, students may investigate modern and contemporary art movements or analyze popular visual culture or media. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds. Students investigate the class topic through close readings and class discussions. They explore and develop their ideas by writing short responses and longer multi-draft papers which may include analytical, argumentative, expository, and/or evaluative essays. A significant amount of time is devoted to the craft of writing. Grammatical and organizational strategies, argumentation, and skills in thesis/claim and idea development are explored. Students should expect to write 15-20 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing and short homework exercises may be included. Through peer review and workshops, students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. Classes are capped at 12 students and individual meetings to discuss each student's papers should be expected. Prerequisites Must complete English Fluency I (EIS 1021)	Class Number 1351	Credits 3	Department Liberal Arts Location MacLean 818
Design Communication	1004 (001)	Uthman Olowa	Mon 9:00 AM - 3:00 PM In Person
Description Comprehensive introduction to three-dimensional architectural and interior architectural representation and fabrication. Through individual and group projects, students learn hand-modeling and digital fabrication techniques, and become super-users of the School?s shops and Advanced Output Center. Students work on design projects using the latest software and digital tools, and develop techniques for integrating analog and digital design and fabrication processes. Students move between two- and three-dimensional representation in the development of robust skills for design communication. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1004	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Digital Imaging Location Sullivan Center 1226
Potting for Pleasure and Protest	1005 (001)	Javier Jasso	Thurs 3:30 PM - 9:15 PM In Person
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
FYS II: Americana Music	1005 (001)	Andrew Lindsay	Mon 12:15 PM - 3:00 PM In Person
Description ¿Genre¿ and tradition in music are nebulous terms, yet we can¿t escape them. Examining these genre distinctions consistently reveals two things - the history and tradition that helped birth the genre ¿category,¿ and the web of influences between genres that make such distinctions unstable. Nowhere is this ¿instability¿ more apparent than in American music, a country whose relatively young socio-political history makes the notion of ¿tradition¿ especially complicated. ¿Americana¿ is an overarching term to describe a variety of American musics, in an attempt to smooth over some of the complicated relationship between genre and tradition. One thing we will explore in this course is the effectiveness of that endeavor. Complicated spaces, of course, are fertile ground for argument, and that is the primary skill we will practice in this course. We begin with short writing assignments that force students to make arguments about our texts. Our class discussion allows us to workshop these claims, and we write larger papers that demonstrate the ability to take greater risks with our theses. In this course we will focus on the core skills of reading and writing, preparing us for all our future coursework at SAIC. Students learn to make nuanced observations about the texts we study, observations which form the basis for the argumentative papers we write. This course will focus on artists representative of the various genres said to populate Americana music. Special attention, however, will be paid to those artists who trouble the genre definitions, such as the Staple Singers, Gillian Welch, and Sturgill Simpson. Assignments consist of informal, observational journals, short papers and a larger Final Paper at the end of the course. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1306	Credits 3	Department Liberal Arts Location MacLean 501
FYS II:Romantic Fairy Tales	1005 (002)	Irina Ruvinsky	Thurs 8:30 AM - 11:15 AM In Person
Description Please confirm/update desc: Unlike traditional folk fairy tales, intended primarily for children, the German Romantic Kunstmärchen (literary fairy tales) were written for an audience of adults. German Romantic philosophers, who believed in Nature as an ideal and the primacy of the individual creative imagination, saw the fairy tale as the perfect medium for the expression of these ideas. The timeless, mythical qualities of the fairy tale were seen by these thinkers as a way to bring the realm of the supernatural to earth, making the irrational and the magical part of our everyday existence. Unlike the traditional fairy tales, in which everyone lives happily ever after, the Märchen emphasizes the struggle between negative and positive forces in which death and disaster often prevail and man is caught in the tragic dichotomy between the real and the ideal. In this course we will explore these and other themes by reading the works by such authors as Novalis, L. Tieck, E.T.A Hoffman and Kafka. Students should expect to write 20-25 pages of formal, revisable writing, in addition to homework exercises and in-class writing. FYS II will build upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. Eventually, writing will be more self-directed in this FYS II class. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1326	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS II:Life Account	1005 (003)	Suman Chhabra	Wed 12:15 PM - 3:00 PM In Person
Description In our creative practices we take our lives into account. You determine the format to share your story. In this course we will read different forms of autobiography: graphic novels, memoirs, essays, poetry, and journals. We will look at the various creative forms writers use to convey information about their lives, discuss why we make artwork about ourselves, and study how each form connects with readers. Though we will read about individual experiences, we will consider their impact on the collective. Readings often include works by Ocean Vuong, Trevor Noah, Diana Khoi Nguyen, EJ Koh, and Kazim Ali among others. In our FYS II course, we will develop our critical reading, writing, and thinking skills. This is a studio writing class in which we will focus on writing as a process. We will freewrite, formulate conceptual questions for the readings, write responses, and compose and revise 20-25 pages in multidraft essays. FYS II develops college-level writing skills, prepares one for upper-level Liberal Arts courses, and allows one to improve expressing their ideas in writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1327	Credits 3	Department Liberal Arts Location MacLean 501
FYS II:Monsters & Colonization	1005 (005)	Michael R. Paradiso-Michau	Thurs 6:45 PM - 9:30 PM In Person
Description FYS 2 provides continued guided experience in college-level writing, thereby forming the necessary foundation for upper level Liberal Arts classes. The phrase 'illegal alien' is used by various politicians and commentators, but what does it really mean? What does it literally mean? What is it assuming? What does it entail? Together we will read, write, think, and discuss the ways in which contemporary media imagines 'the Other,' in particular our enduring legacy of colonial and neocolonial attitudes and behaviors. We will also study the metaphors that extraterrestrial alien cinema present, in terms of settler colonialism and its aftermath. Readings and screenings will include science fiction and horror films, documentaries, primary autobiographical narrative, and critical scholarship on these topics. Students should expect to write 15 to 20 pages of formal, revisable writing (i.e. two essays and one in-depth revision) in addition to homework exercises and in-class writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1329	Credits 3	Department Liberal Arts Location MacLean 112
FYS II: Claire Denis	1005 (008)	Annette Elliot-Hogg	Thurs 12:15 PM - 3:00 PM In Person
Description ¿One night many years ago, a French family was driving through the North Region of Cameroon when they ran out of gas. As they scrambled to refill the tank, the car was surrounded by a pride of lions. To protect their young daughter, the parents locked her in a metal trunk. The animals circled the vehicle continuously, and to distract herself from danger the girl repeated her own name.¿ Contemporary French director Claire Denis blurs the boundaries between dream and reality. In films such as Chocolat (1988), Beau Travail (1999) and White Material (2009), she constructs a tenuous world in the aftermath of European colonialism. In FYSII, we will expand our critical reading, writing and thinking skills. We will develop a vocabulary of forms¿camera movement, cutting and composition¿to understand the sensory experience of a work of art. We will write two critical essays (20 to 25 pages of formal writing), which will be workshopped in class and revised. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1331	Credits 3	Department Liberal Arts Location MacLean 501
FYS II: Past, Present, & Future Chicago	1005 (009)	Joshua Rios	Tues 8:30 AM - 11:15 AM In Person
Description ¿Past, Present, and Future Chicago¿ examines the complex and layered histories of Chicago through the cultural lenses of literature, art, music, public space, and architecture. It actively presents the city as a place where various social groups have migrated, lived in proximity, struggled for equality and resources, as well protested, celebrated, and produced art and culture. Some events this class engages include the establishment of the city through the Chicago Treaty of 1833, the Great Migration of the early 1900s, post-industrialization, the formation of historic neighborhoods (Pilsen, Lawndale, Chinatown), and the rise of House and electronic music. We will conduct periodic field trips throughout the city to enhance our readings, research, and experience-based understanding of Chicago¿s ever-present histories. Relevant artists, writers, and activists include Gwendoline Brooks (poet), Gordon Parks (photographer), Amanda Williams (architect/artist), and Frankie Knuckles (DJ), among others. FYS II builds upon the foundational writing skills students began learning in FYS I, with the introduction of more self-directed rigorous argumentation and research. Students should expect to write 20 to 25 pages of formal, revisable writing (one experiential essay and one research project, both with multiple drafts), as well as homework exercises and in-class writing. Furthermore, peer review, class workshopping of student papers, and individual meetings to discuss each student's writing should be expected. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1308	Credits 3	Department Liberal Arts Location Lakeview - 206
FYS II: Recreation & Play	1005 (010)	Raghav Rao	Mon 8:30 AM - 11:15 AM In Person
Description Discretionary time is time that is not constrained by the necessities of life. It is the domain of recreation and play. This class invites students to critically engage with modes of recreation: hobbies, games, outdoor activities, media consumption, creative pursuits, and vice. Through texts and discussion, students will inquire into how society produces and is produced by its modes of recreation, and how social relations are impacted through its dynamics. They will also bring greater attention to themselves and the values undergirding their personal modes of recreation. The focus of this class is to help students develop the skills required to perform academic research. Students will learn how to propose lines of inquiry, shortlist and interrogate sources, reference sources, and synthesize material. Ultimately, the final project for the class will be a high-quality research paper. Over the course of the semester, in total, students will be expected to produce 20-25 pages of material. Texts for the class include Diane Ackerman, Mihaly Csikszentmihalyi, Tricia Hersey, Priya Parker. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1332	Credits 3	Department Liberal Arts Location MacLean 111
FYS II:Magical Realism	1005 (011)	Irina Ruvinsky	Fri 12:15 PM - 3:00 PM In Person
Description In this class we will read a selection of magical realist narratives ranging from Gogol to Marquez to understand major forms and conventions that have distinguished this literary genre. We will examine twentieth-century magical realism in light of its reaction to nineteenth century realism and post-colonialism. While it is true that Latin American authors have contributed much of the theoretical conceptualization and fictional expression of magical realism in its present form, in this course we will we will treat this genre as a cross-cultural phenomenon by focusing on works of Russian and Latin American literatures. We will turn to the tradition of Russian magical Realism starting with Gogol, Nabokov and Bulgakov as well as Latin American authors including Marques and Borges. We will also read essays by philosophers who analyzed Magical Realist literature like J.P. Sartre. In this course you will be asked to submit 3 analytical/persuasive papers 5-6pages in length (not including drafts). You will be asked to prepare a paragraph stating a claim for 3 in-class writing workshops and learn how to make persuasive arguments that are supported by textual evidence and arrive at a significant conclusion. You will meet with the instructor individually before each paper to work on your draft in person. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1333	Credits 3	Department Liberal Arts Location MacLean 816
FYS II:Paris Noir	1005 (012)	Anita Welbon	Thurs 3:30 PM - 6:15 PM In Person
Description Tanner, Hughes, Baker. Prophet, Bearden, Chase-Rimboud. Wright, Baldwin, Himes. African-American visual, literary, and performing artists have journeyed to Paris for a few months, a year, or a lifetime to find what they could not in the United States, a space to fully explore, develop, and execute their artistic vision. This FYSII course examines the history of African American artists in Paris, exploring the cultural, political, and artistic forces that drew them to the city of light. Through short written responses and longer formal papers, students will continue to develop their writing skills as they consider this rich history. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1309	Credits 3	Department Liberal Arts Location MacLean 111
FYS II: Certainty and Mind	1005 (013)	Guy Elgat	Tues 12:15 PM - 3:00 PM In Person
Description This course serves as an introduction to philosophy through an exploration of some of its basic questions. Specifically, through a reading of two chapters from Descartes¿ Meditations the course will address questions that fall under the following headings: 1: Epistemology: What is knowledge? What are the sources of knowledge? What is philosophical skepticism about knowledge? What can be known with certainty? 2: Mind and Self: What is mind and how is it distinct from matter? What is consciousness? The course is writing intensive: students should expect to write 20-25 pages of formal, revisable writing, including the research paper. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1334	Credits 3	Department Liberal Arts Location MacLean 112
FYS II:Identity:Ind/Cult/Soc	1005 (015)	Christine M Malcom	Thurs 3:30 PM - 6:15 PM In Person
Description Identity is a contested social field where internal notions war with external labels. In this class, we examine identity from a four-field anthropological perspective We explore the social nature of the human species, examine how the performance of language unites individuals and distinguishes groups, and discuss the problematic notion of bounded cultures and their reification in classic and contemporary ethnography and in archaeological writings. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1311	Credits 3	Department Liberal Arts Location MacLean 501
FYS II: Subversion: Intro to Postcolonial Theory	1005 (016)	Steven Reinhart	Tues 6:45 PM - 9:30 PM In Person
Description How can we think about a world today that exists within the long shadows of histories of colonial extraction, violence, and racism? How does history shape the languages and categories through which we feel, speak, think, and act? What is the nature of power, and what happens to power when the one who exercises it to dominate others disappears from direct view? What does it mean to be free, or to decolonize a world or a mind? These are the kinds of questions out of which 'postcolonial theory' developed. In this writing-intensive seminar, we will begin with foundational texts from Aimé Césaire, Frantz Fanon, Edward Said, Gayatri Spivak, and Homi Bhabha. We will then draw out the resonances of these writers through anti-colonial, Black radical, Afropessimist, feminist, and Marxist traditions that challenge and extend postcolonial theory's interventions into our concepts of 'theory' and political struggle. In the process, as a group working together in a studio writing class, we will interweave discussion with writing exercises oriented around conceptual problems at the center of postcolonial theory, including the power of writing itself. From various freewriting exercises to formal essays that will go through multiple processes of revision, we will practice several different writing styles in order to consider the various meanings of freedom, domination, and the possibilities of subversion as a guiding principle for writing itself. FYS II develops college-level writing skills, prepares one for upper level Liberal Arts courses, and allows one to improve expressing their ideas in writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1335	Credits 3	Department Liberal Arts Location MacLean 501
FYS II:Going Mad	1005 (017)	Terri Griffith	Thurs 8:30 AM - 11:15 AM In Person
Description Why do we love books and movies about people going mad? What is so interesting about those at the edge? In this writing course, students consider the character of the ¿madman¿ in literature and film, and ask why this character continues to speak to audiences. Readings and screenings will include ¿The Yellow Wallpaper,¿ by Charlotte Perkins Gilman, Monkey King by Patricia Chao, and the classic film Harvey. In addition to weekly writings, students will write essays with an emphasis on revision, culminating in a final research paper exploring the idea of the ¿madman¿ in popular culture. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1312	Credits 3	Department Liberal Arts Location Lakeview - 1427
FYS II: The New Hollywood	1005 (018)	Jacob A Hinkson	Fri 3:30 PM - 6:15 PM In Person
Description In this writing intensive course, we will develop the skills of argument-driven composition as we examine the aesthetic shift in American cinema from the classic Hollywood studio system of the 1940s-1950s to the ¿New Hollywood¿ of the 1960s-1970s. What was the studio system, and how did it end? What system of production took its place? In tracing the cultural and economic shifts that led to the creation of the modern Hollywood, we¿ll also track the reinvention of genres like the melodrama, the musical, and the film noir. Readings will include critical works by Raymond Borde and Étienne Cahumeton, Jeanine Basinger, and Mark Harris. These materials will inform multiple argument-driven essays which students will draft and revise over the course of the semester. Students should expect to write 20-25 pages of formal, revisable writing, in addition to homework exercises and in-class writing. FYS II will build upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. Eventually, writing will be more self-directed in this FYS II class. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1313	Credits 3	Department Liberal Arts Location Lakeview - 205
FYS II: Irish Rebels: 20th-21st century	1005 (019)	Eileen Favorite	Tues 8:30 AM - 11:15 AM In Person
Description FYS II is the follow-up course to FYS I, where students develop their writing skills to include research and argumentation. In this class we¿ll look at how the Irish fought to overthrow colonial rule in 1916-1922 and win the Irish War for Independence. We¿ll learn about the Old I.R.A. as well as the Cumann na Ban, the women¿s paramilitary that aided the guerilla fighters. In the second part of the course, we¿ll examine the partition of Ireland into Northern Ireland and the Irish Republic. With a deep dive into The Troubles, we¿ll interrogate the weapons of terrorism as well as the nonviolent resistance of hunger strikes. We¿ll examine all sides of the issues by reviewing poetry (Seamus Heaney and Eavan Boland), political commentary and research (Fintan O¿Toole and Patrick Radden Keefe), and contemporary short stories and creative nonfiction (Clare Keegan, Dioreen ni Grioffa). We¿ll also unpack how current politics, especially Brexit and demographic changes, threaten to destabilize Northern Ireland. Through in-class writing exercises, drafting of papers, and mindful writing workshops, students will develop their writing and researching skills, with the creation of 20-25 pages of academic writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1336	Credits 3	Department Liberal Arts Location MacLean 818
FYS II: British Feminist Writers	1005 (021)	Eileen Favorite	Wed 8:30 AM - 11:15 AM In Person
Description FYS II are theme-based writing courses designed for first-year students, with an emphasis on further developing the foundational writing skills students learned in FYS I. Students will continue to hone the intellectual skills of reading critically, and writing responsively, which forms the basis of each student's career at the School. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds, which may include critical, analytical and argumentative essays, and must include the research paper. It is a policy of the department that at least one essay be a research paper which may involve searching for sources in a library or online, learning to make citations, and preparing an annotated bibliography. A significant amount of time is devoted to the craft of writing, and more sophisticated methods of argumentation and use of evidence and developing independent claims and ideas are explored. Students should expect to write 20-25 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing, short homework exercises, and workshopping of student work may be included. Individual meetings to discuss each student's papers should be expected. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1337	Credits 3	Department Liberal Arts Location Lakeview - 205
FYS II: Nuclear Problems & Society	1005 (022S)	Aiko Kojima Hibino	Mon 8:30 AM - 11:15 AM In Person
Description When the first artificial self-sustaining nuclear chain reaction was created in 1942 in Chicago, human society was destined to tackle with an unsolvable conundrum. How could our society possibly justify the augmentation of this enormous power that could destroy our own existence? This course investigates discourses around two major uses of nuclear power in society ¿ nuclear weapons and nuclear energy ¿ and examines them through social justice lenses. Key points of inquiry include: what risks are associated with nuclear weapons and energy and how they have been evaluated in contrast to their benefits, how the damages that were caused by nuclear weapons and energy have been addressed and mended, and whether the harms that were made by nuclear weapons and energy equally impact all groups of people. Building on the basic reading and writing skills introduced in FYS I, FYS II will further students¿ academic skills in writing an independent research paper. Therefore, in this course, students are expected to read primary and secondary sources to collect evidence to develop their critical arguments on nuclear problems. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1315	Credits 3	Department Liberal Arts Location Lakeview - 1427
FYS II: The Interpretation of Dreams	1005 (023)	David B. Johnson	Thurs 3:30 PM - 6:15 PM In Person
Description First-Year Seminars can be thought of as writing studios: their purpose is to help you develop your academic writing skills by practicing writing, revision, and critique. Each FYS course is organized around a topic that orients students¿ writing practice; the topic of this course is the interpretation of dreams. Dreams have fascinated human beings for a long time. Whether understood as a source of inspiration, a cause for amusement, a glimpse into the soul, a pool of diagnostic information, or an everyday process of cognitive housekeeping, dreams have been regarded by some of history¿s most penetrating thinkers as essential to the project of making sense of ourselves and our place in the world. In this course we will investigate the writings of some eminent interpreters of dreams, and through the writing process we will develop our own interpretations in response to their ideas. Our readings will draw upon ancient and medieval philosophy (Aristotle, Zhuangzi, Augustine), early psychoanalysis (Freud, Jung), and contemporary dream science. In addition to short homework assignments, students will complete two major papers¿a Texts-in-Conversation Essay and a Research Paper¿which will go through multiple rounds of review and revision. Throughout the course, we will focus on strategies and techniques for effective writing, including idea-generation, composition, revision, and argument-construction. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1316	Credits 3	Department Liberal Arts Location Lakeview - 1427
FYS II: Food and Culture	1005 (024)	Kate Lechler	Thurs 3:30 PM - 6:15 PM In Person
Description Food is one of life¿s great pleasures and the pursuit of flavor and nutrition has shaped the global map as we know it today. Every culture has food rituals around both its preparation and consumption, while the academic study of food intersects with almost every other topic of study, from economics and biology, to history and art. This course will focus on texts that span a variety of nations, languages, genres, and mediums, all of which explore the collective human experience of food. What do we eat¿and when and why? How did our most beloved foods come to be and how do they reach us today? In response to these questions, we¿ll read texts by famous food-writers such as Michael Pollan and Samir Nosrat, alongside horror and fantasy stories by Cassandra Khaw and Seanan McGuire. We¿ll examine medieval recipes alongside viral TikTok recipes; view Dutch and Flemish still lifes and Warhol paintings; and watch the Hulu show The Bear and Stanley Tucci¿s movie Big Night. In their research and writing students can expect to explore the topic of food that most inspires their curiosity, FYS II builds upon the foundational writing skills students began learning in FYS I, with the introduction of more rigorous argumentation and research. Eventually, writing and revision will be more self-directed in this FYS II class, which provides guided experience in writing college-level essays of various kinds. Students should expect to write 20-25 pages of formal, revisable writing as well as homework exercises and in-class writing. This writing will take the form of two essays and a final project, an in-depth revision based on instructor and peer workshop feedback. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1347	Credits 3	Department Liberal Arts Location MacLean 816
FYS II: Walking	1005 (025S)	Suzanne Scanlon	Mon 12:15 PM - 3:00 PM In Person
Description Fernando Pessoa in Lisbon, Virginia Woolf in London, Frank O¿Hara in New York City; writers, philosophers and artists of all kinds have long created, expanded, and contracted the self through the act and practice of walking. We will spend this semester reading and writing texts structured around the movement of the self in the city and country, at home and away, considering both content and representations of the body in space. We will look at authors, filmmakers and conceptual artists from a range of linguistic and cultural backgrounds to ask: What kind of literary devices does the author use? How does the tone/style contribute to the work as a whole? How does the text build, sentence by sentence or scene by scene? Are specific images repeated and/or used differently throughout the work? Students should expect to write 20-25 pages of formal, revisable writing, including a researched essay. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1317	Credits 3	Department Liberal Arts Location Lakeview - 202
FYS II:The Critical and the Fine	1005 (026)	Herman Stark	Tues 3:30 PM - 6:15 PM In Person
Description This intense writing course fosters college-level writing skills at a level suitable for upper level Liberal Arts courses. Various types of essays will be executed (e.g., analysis, comparison and contrast) over a number of drafts. As for content, the course targets two aesthetic and philosophical phenomena: the critical and the fine. These phenomena can appear apart (e.g., critical thinking apart from the fine can lead to cynicism and even misology), but they can, in synthesis, produce both philosophy and art of the highest order. M. Gelven's text, The Quest for the Fine, and J. Lynch's The English Language, provide examples from philosophy, art, and language that illustrate paradigmatic syntheses of the critical and the fine. We'll consider, for example, the following distinction: The active voice lends crispness to your writing...but the passive voice works well when the action is more relevant than the person or thing doing the action. By reviewing such instances of grammatical and syntactical precision, across different topics, we will develop our internal sense of the fine. As for the critical, consider the following line by Emily Dickinson: 'Because I could not stop for death...he kindly stopped for me....' It takes the critical touch of a master poet to insert kindly; why, after all, kindly? Do not humans tend to flee death? Is not death a topic to be avoided? Do not many of us rather wish, sometimes idly and sometimes fervently, that we could live forever, or at least longer than we do? Or, has the poet revealed an ambiguity in how one might really feel, and think, about one's mortality? In this seminar, we will learn to make and appreciate such examples in writing, and indeed in writing that displays a heightened criticality and a heightened sense of the fine. Fine and critical writing is expected each week in weekly seminar reports, and over the entire semester in four essays, resulting in 20-25 pages of formal, revised writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1318	Credits 3	Department Liberal Arts Location Lakeview - 205
FYS II: (Still) Life-Writing	1005 (027)	Aaron Greenberg	Thurs 12:15 PM - 3:00 PM In Person
Description What is the meaning of life? How does life translate to the page and canvas? In this course, we will practice the art of writing by representing its relations to life. FYS II develops college-level writing skills, preparing students for upper-level Liberal Arts courses. We¿ll focus on still lifes¿among the most enduring, versatile, and overlooked art forms¿which illuminate new perspectives on the lives of artists and the lives of objects we represent. Authors including Lisa Knopp and Norman Bryson will provide critical context for the course, while artists including Alice Neel, Georges Braque, Fernand Léger, Juan Sánchez Cotán, Jonas Wood, Henri Matisse, and Pablo Picasso will set the table with examples of the genre. However, students will develop writing projects around still life artists of their choice. We will experiment with ekphrasis, the detailed written description of visual art. We¿ll write about art that portrays the interplay of life, death, and (in)animacy, as we consider the history of ideas represented through still lifes including: the limits and possibilities of genre, vanitas, memento mori, and subject/object relations. Students will create 20-25 pages of formal, revisable, and (if they choose) publishable writing across three short essays and two in-depth revisions. Students will also learn to write a research paper, using scholarly constraints to enhance creativity. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1338	Credits 3	Department Liberal Arts Location Lakeview - 205
FYS II:Hearing Voices	1005 (028)	William T. Faber	Fri 12:15 PM - 3:00 PM In Person
Description In this course we will work to develop our capacities as critical writers and readers by engaging the question: ¿what is a voice?¿ To do this, we will move across the domains of politics (¿voice of the people¿), linguistics (¿spoken voice¿), psychology (¿individual voice¿), creativity (¿find your voice¿), sound (¿tone of voice¿), the body (¿vocal chords and voice box¿), technology (¿the recorded voice¿), and the sacred (¿voice of God¿). Ultimately, we will cultivate through writing and discussion a semester- long call and response via the diverse meanings and identities attributed to the voice across a range of cultural and historical locations. How do these diverse formulations resonate and speak with one another, and what might their connections reveal about how we understand ourselves and our world? Our course materials will include works by linguist Ferdinand de Saussure, composer Pauline Oliveros, the poet Ovid, sociologist W.E.B Du Bois, novelist Tommy Orange, philosopher Maladan Dolar, folk tales collected by the Brothers Grim, the spiritual texts of Hazrat Inayat Kahn, the blues music of Ma Rainey, among many others. Thematically, we will frequently consider the ways that the voice transgress the borders of metaphor and material fact, shaping our sense of both the individual and the collective. Throughout this course students will develop techniques for critical reading, writing, and listening, as we discuss materials which present and theorize the identity and meaning of the voice, including examples from music, religious studies, poetry, and philosophy. Students will analyze, synthesize, and compare these multiple perspectives in weekly writing assignments and class discussions and develop strategies for mobilizing diverse forms of evidence in support of their original arguments. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1319	Credits 3	Department Liberal Arts Location MacLean 818
FYS II: Hollywoodland	1005 (029)	Zachary Tavlin	Wed 12:15 PM - 3:00 PM In Person
Description FYS II are theme-based writing courses designed for first-year students, with an emphasis on further developing the foundational writing skills students learned in FYS I. Students will continue to hone the intellectual skills of reading critically, and writing responsively, which forms the basis of each student's career at the School. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds, which may include critical, analytical and argumentative essays, and must include the research paper. It is a policy of the department that at least one essay be a research paper which may involve searching for sources in a library or online, learning to make citations, and preparing an annotated bibliography. A significant amount of time is devoted to the craft of writing, and more sophisticated methods of argumentation and use of evidence and developing independent claims and ideas are explored. Students should expect to write 20-25 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing, short homework exercises, and workshopping of student work may be included. Individual meetings to discuss each student's papers should be expected. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1339	Credits 3	Department Liberal Arts Location MacLean 919
FYS II: What is X?	1005 (030)	Kerry Balden	Fri 12:15 PM - 3:00 PM In Person
Description In this course, we learn to inquire according to the most basic question available to us: to ask what something is. For this purpose, we'll read a handful of Platonic Dialogues, which are as comprehensive as they are artistic. Each dialogue asks a question about something fundamental to human life: What is love? What is art? What is friendship? What is power? What is god? What is courage? What is justice? Throughout the course, we'll write a couple of shorter assignments in preparation for a final paper. Building on FYS I, we now further learn how to write for specific readers. Far from merely demonstrating that you the author understand something, your writing will have to explain something to someone who doesn't understand, someone who may be resistant to understanding. In order to do so, we rely on regular, structured sessions of peer feedback, which involve specific, suggested revisions, rather than mere indications of like and dislike. And though we'll learn select principles of writing, such as those of argument, or of introductions, or of conclusions, the course utterly depends on your involvement: If we cannot be readers for one another, in all our idiosyncrasies and specific feedback, then we can't learn how to write for this or that discourse community. Students can expect to write at least two pages per week, culminating in a final research paper or project. Over the semester, students produce 20-25 pages of formal, revisable writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1320	Credits 3	Department Liberal Arts Location MacLean 501
FYS II: Grief in Art	1005 (031S)	James Sieck	Mon 6:45 PM - 9:30 PM In Person
Description Nearly three years into the Covid pandemic and we are still in the midst of a prolonged state of grief. As we consider the ways in which we have found - or struggled to find - help with our grief, the questions must be asked: What mechanisms were in place for communal grief? What mechanisms were in place for individual grief? Moreover, in times of tragedy and trauma, who or what can we turn towards to help us with this incredibly complex and human process? In this second semester course, each student will build off the academic writing and critical reading skills of FYS1 and work to construct a formal research essay that examines the role of art in grief. While our individual work will be specific and focused, our combined efforts will represent a broad exploration into the psychology of grief in the context of art. As a class community, we will examine the behavioral science behind grief, the various cultural practices and traditions around grief, and the ways in which both visual and written art are often our best tools for understanding grief. Sources may vary, but expect to read and analyze a diverse collection of authors and artists, including: Jhumpa Lahiri, James Joyce, Pema Chodron, Pauline Boss, Ada Limon, Roger Robinson, Carrie Mae Weems, and Chimamanda Adichie. Students will learn how to formulate a meaningful research question, vett and synthesize a variety of sources, and produce a polished academic research paper. We will utilize writing workshops, peer review, and process-oriented feedback to help us each produce 20-25 pages of formal and revisable writing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1340	Credits 3	Department Liberal Arts Location MacLean 112
FYS II: More than Friends	1005 (032)	Sophie Goalson	Thurs 12:15 PM - 3:00 PM In Person
Description As we enter a post-pandemic world, the impact of loneliness and importance of community is clearer than ever. But at the same time, the picture of the American family is changing: the nuclear model of the 1940s and 1950s has shifted to one that is less culturally defined and more dynamic, and this constantly shifting structure calls for new definitions and careful exploration. In this course, we will dig into the standard narratives around relationship structures, and the ways in which writers and thinkers have been exploding these structures for centuries. We'll read about sacred non-romantic relationships in Plato's texts, romantic friendships of the Victorian era, queer family history from the 1960s and 1970s, and 20th century ideas of radical friendship and the queering of friendship. Authors we'll study in this course will include Plato, Tennyson, Charlotte Bronte, Audre Lorde, bell hooks, Eileen Myles, Michelle Tea, Kristen Radtke, dean spade, and others. We'll also explore and discuss themes off the beaten path (but well within the forest) of queerness ¿ like asexuality, ethical nonmonagmy, polyamory, chosen family, intentional community, and more. This course will build on academic essay writing skills from FYSI to synthesize ideas and information in an effort to analyze how writers and thinkers have defined and redefined family. Students can expect to produce 20-25 pages of formal, revisable writing, including a final research project. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 2215	Credits 3	Department Liberal Arts Location Lakeview - 1428
First Year Seminar II	1005 (033)		Thurs 6:45 PM - 9:30 PM In Person
Description FYS II are theme-based writing courses designed for first-year students, with an emphasis on further developing the foundational writing skills students learned in FYS I. Students will continue to hone the intellectual skills of reading critically, and writing responsively, which forms the basis of each student's career at the School. While faculty have autonomy in determining course theme, the theme is an accessory to the writing; the balance in these classes is weighed toward explicit writing instruction and workshopping of student writing, not content. This course provides guided experience in writing college-level essays of various kinds, which may include critical, analytical and argumentative essays, and must include the research paper. It is a policy of the department that at least one essay be a research paper which may involve searching for sources in a library or online, learning to make citations, and preparing an annotated bibliography. A significant amount of time is devoted to the craft of writing, and more sophisticated methods of argumentation and use of evidence and developing independent claims and ideas are explored. Students should expect to write 20-25 pages of formal, revisable writing across the course of the semester. A significant amount of time may be devoted to re-writing essays, so as to develop first drafts into final versions. In-class writing, short homework exercises, and workshopping of student work may be included. Individual meetings to discuss each student's papers should be expected. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 2216	Credits 3	Department Liberal Arts Location MacLean 111
FYS II: Speech and Voice	1005 (034)	Stephen Williams	Fri 3:30 PM - 6:15 PM In Person
Description How have artists in literature, theater, music, and other sound-based media represented or incorporated the human voice into their work? This FYS II course builds on the writing and thinking skills students began to develop in FYS I by introducing more advanced argumentation and research methods. To guide our inquiry, we might consider questions such as: How do we understand 'authentic' or 'common' speech, what accounts for its claim on our attention, and what are the politics around it? How does its apparent spontaneity relate to formal aspects of a work of art? Why do diverse folk traditions put human speech in the mouths of animals? How do we experience, on the one hand, divine or oracular voices understood to come from beyond humankind, and on the other, AI-generated simulacra? What does it mean to appropriate another's voice, and why is spoken language such a significant marker of individual and collective identity? How have new technologies of amplification, reproduction, and distribution changed how we hear ourselves? Sources we may consider include: Wordsworth, European opera, Brecht / Weill, Lotte Lenya, Cathy Berberian, Derek Walcott, Kamau Braithwaite, Linda Rosenkrantz, Meredith Monk, Bernadette Mayer, Pere Gimferrer, Nathaniel Mackey, American hip hop. Students can expect to produce 20-25 pages of formal, revisable writing, as well as regular in- and out-of-class assignments. The course builds toward a self-directed research paper on a topic of the student's choosing. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 2217	Credits 3	Department Liberal Arts Location MacLean 112
FYS II: Cyber Feminism	1005 (035)	Terri Griffith	Thurs 12:15 PM - 3:00 PM In Person
Description Cyber Feminisms explores the intersections of feminism, technology, and digital culture through a research-driven lens. Students will critically engage with a range of topics, including the influence of digital spaces on gender identities, the consequences of algorithmic bias, and the ways marginalized communities use technology for resistance and self-expression. This course will analyze the role of the internet in shaping feminist discourse while developing digital literacies essential for academic writing in the 21st century. Students should expect to write 20 to 25 pages of formal, revisable writing (i.e. a semester-long research-based essay with multiple drafts) as well as homework exercises and in-class writing. Much in-class writing will be included, as emphasis is on development of the intellectual skills of reading and responding critically, which forms the basis of each student's career at SAIC. Furthermore, peer review of student papers, and individual meetings to discuss each student¿s writing should be expected. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 2222	Credits 3	Department Liberal Arts Location MacLean 818
FYS II: Human Subjects	1005 (06S)	Jennie Berner	Mon 12:15 PM - 3:00 PM In Person
Description When scientists conduct research involving human subjects, they are required to seek permission from Institutional Review Boards to ensure that their research is safe and ethical. Artists, however, have no such obligation. When working with human subjects ¿ whether they be muses, models, collaborators, participants, or viewers ¿ artists often must decide for themselves what is right or wrong. For example, should street photographers get consent from the people they photograph? Is it okay for performance artists to make their audiences physically or psychologically uncomfortable? Should some art come with a trigger warning? Is it appropriate for a painter or fashion designer to ask a model to endure pain or danger for the sake of art? What do artists owe their subjects (financially, emotionally, morally, etc.)? In this research and writing-intensive course, we¿ll explore these types of questions through artworks, installations, and performance pieces by artists including Sophie Calle, Clifford Owens, Paul McCarthy, Arne Svenson, Vanessa Beecroft, Santiago Sierra, Marina Abramovic, Song Ta, and others. Writing assignments ¿ totaling 20-25 pages over the course of the semester ¿ will emphasize summary, analysis, argument, research, revision, and other academic writing skills. Prerequisites Prerequisite: ENGLISH 1001.	Class Number 1307	Credits 3	Department Liberal Arts Location Lakeview - 1428
Introduction to Fashion, Body, and Garment	1010 (001)	Saumitra Shrikant Chandratreya	Tues 3:30 PM - 9:15 PM In Person
Description This is an introductory look into fashion. Students will explore basic design skills and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context.	Class Number 1353	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 706
Introduction to Fashion, Body, and Garment	1010 (002)	Janet Kang	Thurs 3:30 PM - 9:15 PM In Person
Description This is an introductory look into fashion. Students will explore basic design skills and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context.	Class Number 1354	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 727
Introduction to Fashion, Body, and Garment	1010 (003)	Isaac Couch	Sat 10:00 AM - 4:00 PM In Person
Description This is an introductory look into fashion. Students will explore basic design skills and processes, and work with various materials used in constructing garments. Both traditional and non-traditional materials will be explored through techniques and exercises related to the body. Students will learn how the tools and equipment for hand and machine sewing functions, and its role in constructing garments. A critical overview of fashion introduces students to various practical and theoretical approaches to understand and explore fashion within an art context.	Class Number 1374	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 704
Core Studio Practice II	1011 (001)	Kitty T Huffman, Alison Ruttan	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1224	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (001)	Kitty T Huffman, Alison Ruttan	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1224	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Foundations Writing Workshop	1011 (001)	Jennie Berner	Fri 3:30 PM - 6:15 PM In Person
Description The Foundations Writing Workshop is a process-based writing course that serves as students' initiation to the foundations of academic writing in a school of art and design. Students engage in the writing process, learn strategies for exploring topics, and develop their knowledge of the concepts and terminology of art and design through the practice of various kinds of written compositions. Analysis of essays and active participation in writing-critiques are integral components of the Workshop.	Class Number 1002	Credits 3	Department Liberal Arts Location MacLean 816
Core Studio Practice II	1011 (002)	Sarah Jean Belknap, Joseph David Belknap	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1225	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (002)	Sarah Jean Belknap, Joseph David Belknap	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1225	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (003)	Lise Haller Baggesen, Michelle Bolinger	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1226	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (003)	Lise Haller Baggesen, Michelle Bolinger	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1226	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (004)	Elena Ailes, Anna Laure Kielman	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1227	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (004)	Elena Ailes, Anna Laure Kielman	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1227	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (005)	Rosalynn Gingerich, Maria Gaspar	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1228	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (005)	Rosalynn Gingerich, Maria Gaspar	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1228	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (006)	David Lozano, Mikey Peterson	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1229	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (006)	David Lozano, Mikey Peterson	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1229	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (007)	Eliza Fernand, Stacia Laura Yeapanis	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1230	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (007)	Eliza Fernand, Stacia Laura Yeapanis	Tues, Tues 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1230	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (008)	Tom Burtonwood, Burton Isenstein	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1231	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (008)	Tom Burtonwood, Burton Isenstein	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1231	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (009)	AJ McClenon, Susan Giles	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1232	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (009)	AJ McClenon, Susan Giles	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1232	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (010)	Benjamin Larose, Amy Vogel	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1233	Credits 3	Department Contemporary Practices Location Sharp 407, Sharp 410
Core Studio Practice II	1011 (010)	Benjamin Larose, Amy Vogel	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1233	Credits 3	Department Contemporary Practices Location Sharp 407, Sharp 410
Core Studio Practice II	1011 (011)	Anna Martine Whitehead, Christine Anne Shallenberg	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1234	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (011)	Anna Martine Whitehead, Christine Anne Shallenberg	Wed, Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1234	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (012)	Joseph David Belknap, Sarah Jean Belknap	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1235	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (012)	Joseph David Belknap, Sarah Jean Belknap	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1235	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (013)	Claire Ashley, Benjamin Melamed Pearson	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1236	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (013)	Claire Ashley, Benjamin Melamed Pearson	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1236	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (014)	Troy Daniel Briggs, Assaf Evron	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1237	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (014)	Troy Daniel Briggs, Assaf Evron	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1237	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (015)	John Henley, Hope Roberts Esser	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1238	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (015)	John Henley, Hope Roberts Esser	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1238	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (016)	Hope Roberts Esser, John Henley	Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1239	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (016)	Hope Roberts Esser, John Henley	Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1239	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (017)	Troy Daniel Briggs, Loretta Bourque	Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1240	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (017)	Troy Daniel Briggs, Loretta Bourque	Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1240	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (018)	Nelly Agassi, Laleh Motlagh	Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1241	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (018)	Nelly Agassi, Laleh Motlagh	Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1241	Credits 3	Department Contemporary Practices Location Sharp 329, Sharp 331
Core Studio Practice II	1011 (019)	Caleb Michael Yono, Stevie Thomas Hanley	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1242	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (019)	Caleb Michael Yono, Stevie Thomas Hanley	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1242	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (020)	Maria Burundarena, Andrew Martin Roche	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1243	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (020)	Maria Burundarena, Andrew Martin Roche	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1243	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (021)	Kris Derek Hechevarria, S. Bailey Jacobson	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1244	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (021)	Kris Derek Hechevarria, S. Bailey Jacobson	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1244	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (022)	Delano Dunn, Steve Amos	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1245	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (022)	Delano Dunn, Steve Amos	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1245	Credits 3	Department Contemporary Practices Location Sharp 213, Sharp 214
Core Studio Practice II	1011 (023)	Claire Ashley, Rebecca Beachy	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1246	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (023)	Claire Ashley, Rebecca Beachy	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1246	Credits 3	Department Contemporary Practices Location Sharp 215, Sharp 216
Core Studio Practice II	1011 (024)	Kitty Rauth, Kelly Xi	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1247	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (024)	Kitty Rauth, Kelly Xi	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1247	Credits 3	Department Contemporary Practices Location Sharp 314, Sharp 315
Core Studio Practice II	1011 (025)	Zachary Hutchinson, Nancy Sanchez Tamayo	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 2134	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II	1011 (025)	Zachary Hutchinson, Nancy Sanchez Tamayo	Thurs, Thurs 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 2134	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice I: Transfers	1012 (001)	Claire Ashley	Tues 9:00 AM - 3:00 PM In Person
Description Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production. Prerequisites Open to Freshmen only.	Class Number 1248	Credits 3	Department Contemporary Practices Location Sharp 332
Core Studio Practice I: Transfers	1012 (002)	Julietta Cheung	Wed 9:00 AM - 3:00 PM In Person
Description Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production. Prerequisites Open to Freshmen only.	Class Number 1249	Credits 3	Department Contemporary Practices Location Sharp 315
Core Studio Practice I: Intensive	1014 (001)	Laura Davis	Mon, Mon 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description Core Studio is a year-long course that introduces students to both disciplinary and interdisciplinary art practice. Students learn about the methods, materials, tools and concepts in the areas of Surface (2-dimensional), Space (3-dimensional), and Time (4-dimensional), both independently and in relationship to one another. Students develop their own ideas in relation to the materials and themes being presented by faculty. Core Studio integrates the formal with the conceptual, historical with the contemporary, and makes visible the possibilities and variety of approaches in contemporary cultural production. Prerequisites Open to Freshmen only.	Class Number 1250	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Core Studio Practice II: Intensive	1015 (001)	Laura Davis	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description The continuation of Core Studio Practice I. Prerequisites Open to Freshmen only.	Class Number 1251	Credits 3	Department Contemporary Practices Location Sharp 326, Sharp 328
Survey of Modern and Contemporary Painting	1017 (001)	Mark Krisco	Fri 3:30 PM - 6:15 PM In Person
Description This class reveals the fine art, photography and art theories of late 19th century to the present day. The first half of the semester focusing on the period 1851 to the economic crash of 1929; which had been a time of rapid social, economic and political change impacted by revolutions in communication systems, technology and easy availability of reproductions. Students will gain a comprehensive and chronological picture of the major art movements and their engagement with or reaction against previous art and artists. The major artists of the major movements of Impressionism, Cubism, Purism, Expressionism, Futurism, Surrealism and Abstraction will be addressed in regards to their aims and achievements.These include - to name the most prominent - Claude Monet, Paul Cezanne, Picasso, Braque, Leger, Kirchner, Severini, Magritte, Dali and Kandinsky and Mondrian.The class ending with major 20th century artists from Pollock and De Kooning of Abstract Expressionism to Pop artists Andy Warhol and Roy Lichtenstein to current times and how they relate to this legacy and the concept of an art museum in terms of urban capitalism, Colonialism, Nationalism and Internationalism. This class has weekly reading assignments from two major texts ; one written by art historian Richard Brettell and one written by artist Alex Katz. Written questions about these readings will be assigned as well. The class also often has sketching and student discussions in the museum. There is also one final paper on the artist covered most admired by each student.	Class Number 1043	Credits 3	Department Art History, Theory, and Criticism Location MacLean 302
Research Studio I	1020 (001)	Peter Jorge Fagundo	Tues 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1220	Credits 3	Department Contemporary Practices Location Sharp 407
Research Studio I	1020 (002)	Amy Vogel	Thurs 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1221	Credits 3	Department Contemporary Practices Location Sharp 332
Research Studio I	1020 (003)		Thurs 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1222	Credits 3	Department Contemporary Practices Location Sharp 410
Research Studio I	1020 (004)	Loretta Bourque	Wed 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 1223	Credits 3	Department Contemporary Practices Location Sharp 1215
Research Studio I	1020 (005)	Benjamin Melamed Pearson	Fri 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Freshmen only.	Class Number 2253	Credits 3	Department Contemporary Practices Location Sharp 410
English for International Students: English Language Fluency	1021 (001)	Maryjane Lao Villamor	Fri 3:30 PM - 6:15 PM In Person
Description This is the first of two English language fluency courses for students who do not speak English as their first language. Students improve their academic English skills by reading and responding to art appreciation and art history texts. Texts are analyzed for formal as well as contextual information. Students learn how to integrate their own observations and knowledge with information gained from reading and lecture. Students also build competence and confidence in college-level writing. Topics include formal analyses and/or critical responses to works of art. Presentations and class discussions also give students practice communicating their knowledge through speaking.	Class Number 1280	Credits 3	Department Liberal Arts Location MacLean 501
Research Studio I: Transfers	1021 (001)	Benjamin Melamed Pearson	Mon 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Incoming Transfer Students Only	Class Number 1252	Credits 3	Department Contemporary Practices Location Sharp 1215
English for International Students: English Language Fluency	1021 (002)	Maryjane Lao Villamor	Tues 12:15 PM - 3:00 PM In Person
Description This is the first of two English language fluency courses for students who do not speak English as their first language. Students improve their academic English skills by reading and responding to art appreciation and art history texts. Texts are analyzed for formal as well as contextual information. Students learn how to integrate their own observations and knowledge with information gained from reading and lecture. Students also build competence and confidence in college-level writing. Topics include formal analyses and/or critical responses to works of art. Presentations and class discussions also give students practice communicating their knowledge through speaking.	Class Number 1288	Credits 3	Department Liberal Arts Location MacLean 818
Research Studio I: Transfers	1021 (002)	Julietta Cheung	Tues 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Incoming Transfer Students Only	Class Number 1253	Credits 3	Department Contemporary Practices Location Sharp 315
Research Studio I: Transfers	1021 (003)	Tom Burtonwood	Fri 9:00 AM - 3:00 PM In Person
Description 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. Prerequisites Open to Incoming Transfer Students Only	Class Number 1254	Credits 3	Department Contemporary Practices Location Sharp 310
Research Studio I: Transfers	1021 (004)	Markus Dohner	Thurs 3:30 PM - 9:15 PM In Person
Description 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. Prerequisites Open to Incoming Transfer Students Only	Class Number 1255	Credits 3	Department Contemporary Practices Location Sharp 329
Research Studio II	1022 (001)	Jennifer Lobo	Mon 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1178	Credits 3	Department Contemporary Practices Location Sharp 314
Research Studio II	1022 (002)	Troy Daniel Briggs	Mon 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1179	Credits 3	Department Contemporary Practices Location Sharp 315
Research Studio II	1022 (003)	Assaf Evron	Mon 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1180	Credits 3	Department Contemporary Practices Location Sharp 407
Research Studio II	1022 (004)	Steven Heyman	Mon 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1181	Credits 3	Department Contemporary Practices Location Sharp 410
Research Studio II	1022 (005)	Joshua Rios	Mon 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1182	Credits 3	Department Contemporary Practices Location Sharp 1216
Research Studio II	1022 (006)	Alison Ruttan	Tues 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1183	Credits 3	Department Contemporary Practices Location Sharp 410
Research Studio II	1022 (007)	Anna Martine Whitehead	Tues 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1184	Credits 3	Department Contemporary Practices Location Sharp 314
Research Studio II	1022 (008)	Benjamin Melamed Pearson	Tues 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1185	Credits 3	Department Contemporary Practices Location Sharp 310
Research Studio II	1022 (009)	Susan Giles	Tues 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1186	Credits 3	Department Contemporary Practices Location Sharp 1215
Research Studio II	1022 (010)	Tom Burtonwood	Tues 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1187	Credits 3	Department Contemporary Practices Location Sharp 1216
Research Studio II	1022 (011)	Delano Dunn	Wed 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1188	Credits 3	Department Contemporary Practices Location Sharp 213
Research Studio II	1022 (012)	Brian Sikes	Wed 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1189	Credits 3	Department Contemporary Practices Location Sharp 214
Research Studio II	1022 (013)	Laura Davis	Wed 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1190	Credits 3	Department Contemporary Practices Location Sharp 314
Research Studio II	1022 (014)	Kirsten Leenaars	Wed 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1191	Credits 3	Department Contemporary Practices Location Sharp 332
Research Studio II	1022 (015)	Lora Lode	Wed 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1192	Credits 3	Department Contemporary Practices Location Sharp 310
Research Studio II	1022 (016)	Elena Ailes	Wed 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1193	Credits 3	Department Contemporary Practices Location Sharp 1216
Research Studio II	1022 (017)	David Lozano	Thurs 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1194	Credits 3	Department Contemporary Practices Location Sharp 407
Research Studio II	1022 (018)	Ginger Krebs	Thurs 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1195	Credits 3	Department Contemporary Practices Location Sharp 1215
Research Studio II	1022 (019)	Julietta Cheung	Thurs 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1196	Credits 3	Department Contemporary Practices Location Sharp 1216
Research Studio II	1022 (020)	Amy Vogel	Fri 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1197	Credits 3	Department Contemporary Practices Location Sharp 314
Research Studio II	1022 (021)	Burton Isenstein	Fri 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1198	Credits 3	Department Contemporary Practices Location Sharp 315
Research Studio II	1022 (022)	Joseph David Belknap	Fri 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1199	Credits 3	Department Contemporary Practices Location Sharp 326
Research Studio II	1022 (023)	Sarah Jean Belknap	Fri 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1200	Credits 3	Department Contemporary Practices Location Sharp 328
Research Studio II	1022 (024)	Kayla Anderson	Fri 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1201	Credits 3	Department Contemporary Practices Location Sharp 407
Research Studio II	1022 (026)	Alex Cohen	Fri 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1203	Credits 3	Department Contemporary Practices Location Sharp 1215
Research Studio II	1022 (027)	Peter Jorge Fagundo	Fri 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1204	Credits 3	Department Contemporary Practices Location Sharp 1216
Research Studio II	1022 (028)	William James McGuinness	Mon 9:00 AM - 3:00 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1205	Credits 3	Department Contemporary Practices Location Sharp 332
Research Studio II	1022 (029)	Sarah Bastress	Tues 3:30 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1206	Credits 3	Department Contemporary Practices Location Sharp 410
Research Studio II	1022 (030)	Corey Smith	Tues 3:30 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1207	Credits 3	Department Contemporary Practices Location Sharp 329
Research Studio II	1022 (031)	Maryam Taghavi	Tues 3:30 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1208	Credits 3	Department Contemporary Practices Location Sharp 407
Research Studio II	1022 (032)	Alan Strathmann	Tues 3:30 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1209	Credits 3	Department Contemporary Practices Location Sharp 1215
Research Studio II	1022 (033)	Regin Igloria	Thurs 3:30 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1210	Credits 3	Department Contemporary Practices Location Sharp 407
Research Studio II	1022 (034)	Andrew Martin Roche	Thurs 3:30 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1211	Credits 3	Department Contemporary Practices Location Sharp 410
Research Studio II	1022 (035)	Alberto Aguilar	Thurs 3:30 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1212	Credits 3	Department Contemporary Practices Location Sharp 310
Research Studio II	1022 (036)	Isra Rene	Thurs 3:30 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1213	Credits 3	Department Contemporary Practices Location Sharp 1215
Research Studio II	1022 (037)	Nia Easley	Thurs 3:30 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1214	Credits 3	Department Contemporary Practices Location Sharp 1216
Research Studio II	1022 (038)	Mathew Wilson	Mon/Wed 6:45 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1215	Credits 3	Department Contemporary Practices Location Sharp 213
Research Studio II	1022 (039)	Paola Cabal	Mon/Wed 6:45 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1216	Credits 3	Department Contemporary Practices Location Sharp 214
Research Studio II	1022 (040)	Armando Román	Mon/Wed 6:45 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1217	Credits 3	Department Contemporary Practices Location Sharp 216
Research Studio II	1022 (041)	Larry Lee	Mon/Wed 6:45 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1218	Credits 3	Department Contemporary Practices Location Sharp 326
Research Studio II	1022 (042)	Emily Eddy	Mon/Wed 6:45 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1219	Credits 3	Department Contemporary Practices Location Sharp 328
Research Studio II	1022 (043)	Shir Ende	Mon/Wed 6:45 PM - 9:15 PM In Person
Description The course Research Studio II builds on the learning outcomes from Research Studio I, asking students to continue to develop and connect their own work and ideas with a diverse range of artists, designers, and communities. This spring the entire Contemporary Practice department will have a shared umbrella topic for our RSII courses: Contemporary Now. All RSII classes will engage with the present and what is happening right now. With the world moving so fast - a pandemic, fires burning across the US west, people marching in the streets across the globe, and the storms that seem to keep coming, it is critical we ask questions of ourselves as artists, designers, educators and cultural producers: What responsibility do we have at any moment in history? How can the diversity of our practices: research, study, making and actions, address the present and design the future we want to see? In RSII courses students will investigate this shared departmental thematic through the intersection of their own practice and the pedagogical practices of their faculty. All RSII classes are interdisciplinary, faculty have provided a subtitle, and a short description to describe the lens through which their class will explore the theme of Contemporary Now. Prerequisites Prerequisite: CP/FIRYR 1020.	Class Number 1256	Credits 3	Department Contemporary Practices Location Sharp 329
English for International Students: Critique	1031 (001)	C. C. Ann Chen	Tues 8:30 AM - 11:15 AM In Person
Description This critique course is offered for students who do not speak English as their first language. Students build competence in giving critiques, participating in class discussions, and giving presentations. Students make artwork to present to the class. They learn and practice the vocabulary of visual and design elements and use these to analyze and critique their own and their classmates' works. Students practice a variety of critique formats by using formal, social-cultural, and expressive theories of art criticism. They discuss and critique works both verbally and in writing.	Class Number 1289	Credits 3	Department Liberal Arts Location MacLean 111
English for International Students: Tutorial	1035 (002)	Aram Han Sifuentes	Fri 12:15 PM - 1:45 PM In Person
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1281	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (004)		Mon 12:15 PM - 1:45 PM In Person
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1282	Credits 1.5	Department Liberal Arts Location MacLean 818
English for International Students: Tutorial	1035 (005)	Ned Marto	Tues 4:45 PM - 6:15 PM In Person
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1292	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (006)	Ned Marto	Thurs 4:45 PM - 6:15 PM In Person
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1283	Credits 1.5	Department Liberal Arts Location Lakeview - 1004
English for International Students: Tutorial	1035 (007)	Sonia Da Silva	Mon 9:45 AM - 11:15 AM In Person
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1293	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (008)	Sonia Da Silva	Mon 12:15 PM - 1:45 PM In Person
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1284	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (009)	Sonia Da Silva	Wed 9:45 AM - 11:15 AM In Person
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1294	Credits 1.5	Department Liberal Arts Location Lakeview - 1004
English for International Students: Tutorial	1035 (010)	Sonia Da Silva	Wed 12:15 PM - 1:45 PM In Person
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1285	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
English for International Students: Tutorial	1035 (012)	David P Norris	Wed 6:45 PM - 8:15 PM In Person
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1286	Credits 1.5	Department Liberal Arts Location Lakeview - 1004
English for International Students: Tutorial	1035 (013)	Alicia Castañeda-Lopez	Tues 6:45 PM - 8:15 PM All Online
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1296	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (014)	Alicia Castañeda-Lopez	Thurs 6:45 PM - 8:15 PM All Online
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1287	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (015)	Suman Chhabra	Tues 9:45 AM - 11:15 AM All Online
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1298	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (016)	Suman Chhabra	Tues 12:15 PM - 1:45 PM All Online
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1299	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (017)	David P Norris	Mon 6:45 PM - 8:15 PM All Online
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1300	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (018)		Thurs 6:45 PM - 8:15 PM All Online
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 1301	Credits 1.5	Department Liberal Arts Location Online
English for International Students: Tutorial	1035 (019)	Aram Han Sifuentes	Fri 3:30 PM - 5:00 PM In Person
Description This class offers small group tutoring for students who do not speak English as their first language. Students meet with an EIS instructor in groups of three for 1 1/2 hours each week. Students receive assistance with their class assignments for Art History, Liberal Arts and Studio classes. Activities may include discussing class concepts, checking comprehension, exploring ideas for papers or projects, revising papers, or practicing pronunciation and presentations.	Class Number 2344	Credits 1.5	Department Liberal Arts Location Lakeview - 1011
Printmedia Practices	1101 (001)	Frances Lightbound	Tues 9:00 AM - 3:00 PM In Person
Description How is print fundamental to artistic practice? Students will have two seven-week sections learning fundamentals, exploring ways in which artists utilize processes to facilitate print media based projects. Projects will encourage students to critically examine how print services concept and context both historically and within the contemporary. Each thematic section is anchored in a specific print process aimed to establish skill acquisition and experimentation. Sections in Room 221 and 222 will concentrate on experimental and innovative processes in Screenprinting and Lithography; the section meeting in Room 223 will explore contemporary practices using Relief, etching, monotypes, stencils, and collagraphs. Faculty will conduct process demonstrations, introduce students to a history of practitioners in the graphic arts, and provide supporting readings. Print processes covered may include screen printing, relief, monotypes, photo plate lithography, book arts. Topics will vary but may include the multiple, seriality, editions, public address, progression of collage, and self-publishing. Learning will be aided with visits to the AIC Department of Prints and Drawings and the Joan Flasch Artists Books Collection	Class Number 1542	Credits 3	Department Printmedia Location 280 Building Rm 222
Introduction to Sculptural Practices	1101 (001)	Rebecca Keller	Mon 9:00 AM - 3:00 PM In Person
Description This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture. Prerequisites Open to Freshmen only.	Class Number 1706	Credits 3	Department Sculpture Area of Study Public Space, Site, Landscape, Furniture Design Location 280 Building Rm 015
Introduction to Performance	1101 (001)	Vanessa Damilola Macaulay	Wed 9:00 AM - 3:00 PM In Person
Description This course introduces the student to a wide spectrum of performance forms including performance in every day life, rituals, folk forms, artists' actions, experimental dance and theatre, activist performance, and intermedia forms. Students learn the history of performance practices, explore theoretical issues , and develop individual and collaborative works. Primarily a beginner's course but open to all levels of students.	Class Number 1502	Credits 3	Department Performance Area of Study Gender and Sexuality Location 280 Building Rm 012
Printmedia Practices	1101 (002)	Jasper Goodrich	Tues 9:00 AM - 3:00 PM In Person
Description How is print fundamental to artistic practice? Students will have two seven-week sections learning fundamentals, exploring ways in which artists utilize processes to facilitate print media based projects. Projects will encourage students to critically examine how print services concept and context both historically and within the contemporary. Each thematic section is anchored in a specific print process aimed to establish skill acquisition and experimentation. Sections in Room 221 and 222 will concentrate on experimental and innovative processes in Screenprinting and Lithography; the section meeting in Room 223 will explore contemporary practices using Relief, etching, monotypes, stencils, and collagraphs. Faculty will conduct process demonstrations, introduce students to a history of practitioners in the graphic arts, and provide supporting readings. Print processes covered may include screen printing, relief, monotypes, photo plate lithography, book arts. Topics will vary but may include the multiple, seriality, editions, public address, progression of collage, and self-publishing. Learning will be aided with visits to the AIC Department of Prints and Drawings and the Joan Flasch Artists Books Collection	Class Number 1546	Credits 3	Department Printmedia Location 280 Building Rm 223
Introduction to Sculptural Practices	1101 (002)		Tues 9:00 AM - 3:00 PM In Person
Description This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture. Prerequisites Open to Freshmen only.	Class Number 1716	Credits 3	Department Sculpture Area of Study Public Space, Site, Landscape, Furniture Design Location 280 Building Rm 015
Printmedia Practices	1101 (003)	Marylu Herrera	Tues 9:00 AM - 3:00 PM In Person
Description How is print fundamental to artistic practice? Students will have two seven-week sections learning fundamentals, exploring ways in which artists utilize processes to facilitate print media based projects. Projects will encourage students to critically examine how print services concept and context both historically and within the contemporary. Each thematic section is anchored in a specific print process aimed to establish skill acquisition and experimentation. Sections in Room 221 and 222 will concentrate on experimental and innovative processes in Screenprinting and Lithography; the section meeting in Room 223 will explore contemporary practices using Relief, etching, monotypes, stencils, and collagraphs. Faculty will conduct process demonstrations, introduce students to a history of practitioners in the graphic arts, and provide supporting readings. Print processes covered may include screen printing, relief, monotypes, photo plate lithography, book arts. Topics will vary but may include the multiple, seriality, editions, public address, progression of collage, and self-publishing. Learning will be aided with visits to the AIC Department of Prints and Drawings and the Joan Flasch Artists Books Collection	Class Number 1559	Credits 3	Department Printmedia Location 280 Building Rm 221
Introduction to Sculptural Practices	1101 (004)	Adrian Wong	Wed 9:00 AM - 3:00 PM In Person
Description This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture. Prerequisites Open to Freshmen only.	Class Number 1723	Credits 3	Department Sculpture Area of Study Public Space, Site, Landscape, Furniture Design Location 280 Building Rm 015
Intro to Writing as Art	1102 (001)	Nina Coomes	Mon 6:45 PM - 9:30 PM In Person
Description This class serves as an entry into the historical, theoretical and practical concerns of creative writing as an art form in itself and as a vital element of interdisciplinary projects. We explore the possibilities of fiction, non-fiction, poetry, plays and hybrid practices as writing for the page, as well as for performance, sound, installation, and image-based pieces. Students are assigned reading and writing exercises, and discuss each other's writing in workshop or small critique sessions.	Class Number 1833	Credits 3	Department Writing Location Lakeview - 803
Intro to Writing as Art	1102 (003)	Kathie Bergquist	Tues 3:30 PM - 6:15 PM In Person
Description This class serves as an entry into the historical, theoretical and practical concerns of creative writing as an art form in itself and as a vital element of interdisciplinary projects. We explore the possibilities of fiction, non-fiction, poetry, plays and hybrid practices and their intersections with performance, sound, installation, and visual art. Readings include diverse examples of genre and form, as well as investigations of literary and thematic terminology. Students generate weekly responses to reading and writing exercises that focus on understanding the mechanics of writing, and are introduced to workshopping techniques and etiquette.	Class Number 2064	Credits 3	Department Writing Location Lakeview - 803
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (001)		Tues 9:45 AM - 11:15 AM In Person
Description Students will review the materials from the previous week?s lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Prerequisites Corequisite: ARTHI 1002.	Class Number 2383	Credits 0	Department Art History, Theory, and Criticism Location MacLean 919
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (002)		Wed 6:45 PM - 8:15 PM In Person
Description Students will review the materials from the previous week?s lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Prerequisites Corequisite: ARTHI 1002.	Class Number 2384	Credits 0	Department Art History, Theory, and Criticism Location MacLean 818
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (003)		Thurs 3:30 PM - 5:00 PM In Person
Description Students will review the materials from the previous week?s lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Prerequisites Corequisite: ARTHI 1002.	Class Number 2385	Credits 0	Department Art History, Theory, and Criticism Location MacLean 818
Discussion Section for Advanced Survey of Modern and Contemporary Art and Architecture Section	1201 (004)		Fri 9:45 AM - 11:15 AM In Person
Description Students will review the materials from the previous week?s lecture, both the class's main thematic and conceptual points, and also the names, practices, and places that may be required for quizzes. The TA will also lead workshops in which students exchange ideas about their notebooks, maps, papers, curated projects, or installations. Prerequisites Corequisite: ARTHI 1002.	Class Number 2386	Credits 0	Department Art History, Theory, and Criticism Location MacLean 818
Introduction To Fiber/Material Studies	2000 (001)	Carina Yepez	Mon 9:00 AM - 3:00 PM In Person
Description This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.	Class Number 1388	Credits 3	Department Fiber and Material Studies Location Sharp 902
Media Practices: The Moving Image	2000 (001)	James Connolly, Eric Fleischauer	Tues 9:00 AM - 3:00 PM In Person
Description This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.	Class Number 1413	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Media Practices: The Moving Image	2000 (001)	James Connolly, Eric Fleischauer	Tues 9:00 AM - 3:00 PM In Person
Description This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.	Class Number 1413	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Media Practices: The Moving Image	2000 (002)	Paige Taul	Wed 9:00 AM - 3:00 PM In Person
Description This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.	Class Number 1414	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Introduction To Fiber/Material Studies	2000 (003)	Vanessa Viruet	Mon/Wed 6:45 PM - 9:15 PM In Person
Description This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.	Class Number 1402	Credits 3	Department Fiber and Material Studies Location Sharp 902
Media Practices: The Moving Image	2000 (003)	Frédéric Moffet, Meredith Zielke	Thurs 9:00 AM - 3:00 PM In Person
Description This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.	Class Number 1437	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Media Practices: The Moving Image	2000 (003)	Frédéric Moffet, Meredith Zielke	Thurs 9:00 AM - 3:00 PM In Person
Description This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.	Class Number 1437	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Introduction To Fiber/Material Studies	2000 (004)	Sofía Fernández Díaz	Tues 3:30 PM - 9:15 PM In Person
Description This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.	Class Number 1390	Credits 3	Department Fiber and Material Studies Location Sharp 902
Media Practices: The Moving Image	2000 (004)	Asya Dubrovina	Fri 9:00 AM - 3:00 PM In Person
Description This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art. Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects. Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.	Class Number 1450	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 314
Introduction To Fiber/Material Studies	2000 (005)	Erica Littlejohn	Wed 9:00 AM - 3:00 PM In Person
Description This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.	Class Number 1403	Credits 3	Department Fiber and Material Studies Location Sharp 1014
Introduction To Fiber/Material Studies	2000 (006)	Kira Keck	Tues 9:00 AM - 3:00 PM In Person
Description This course introduces students to a diverse range of textile materials, processes, histories, politics, traditions, and cultures of fiber and their relationships to contemporary art practice. Historical and contemporary approaches to process and materials are explored as students are introduced to a variety of fiber techniques in construction and surface application. Taught technique can include printing, tapestry weaving, immersion and resist dyeing, knitting, crochet, felting, coiling, hand embroidery, machine sewing, piecework, and embellishment. Textiles have rich and complex histories in all cultures. Examples from across time and place will be explored and discussed through visual presentations, assigned readings, in-class discussions, visiting artist lectures, and field trips. By the end of this course, students will become familiar with the formal, conceptual, expressive, and political potential of fiber as an expressive medium with limitless possibilities. Course work will vary but typically includes the creation of technical samples, critique projects, and reading responses.	Class Number 2137	Credits 3	Department Fiber and Material Studies Location Sharp 1014
Introduction to Sound Practices	2001 (001)	Eshovo Momoh	Mon/Wed 6:45 PM - 9:15 PM In Person
Description This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.	Class Number 1755	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 420
Fashion Construction I	2001 (001)	Saumitra Shrikant Chandratreya	Fri 9:00 AM - 3:00 PM In Person
Description This course offers foundational methods of draping, pattern drafting, and construction techniques to build garments. The students learn how to develop a set of slopers, consisting of bodice, sleeve and skirt, combining and integrating draping and pattern drafting methods. Through these methods, the students develop and construct design concepts, first in muslin, then in fabric; stressing the importance of proper fit and craftsmanship. No pre-req. Prerequisites Students must be a sophomore grade level or permission by instructor	Class Number 1386	Credits 3	Department Fashion Design Location Sullivan Center 704
Painting Practice	2001 (001)	Jessica Jackson Hutchins	Mon 9:00 AM - 3:00 PM In Person
Description Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.	Class Number 1626	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Issues in Visual Critical Studies	2001 (001)	Kristi Ann McGuire	Wed 6:45 PM - 9:30 PM In Person
Description This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2208	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location Lakeview - 205
Introduction to Sculptural Practices	2001 (001)	Juan Angel Chavez	Tues 3:30 PM - 9:15 PM In Person
Description This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture. Prerequisites Prerequisite: Must be a sophomore or above.	Class Number 1700	Credits 3	Department Sculpture Location 280 Building Rm 015
Spanish I	2001 (001)	Sabra Duarte	Tues 3:30 PM - 6:15 PM In Person
Description An introductory course in reading, writing, and conversational Spanish. Prerequisites Prerequisite: First Year English requirement.	Class Number 1499	Credits 3	Department Liberal Arts Location Lakeview - 202
Issues in Visual Critical Studies	2001 (001)	Kristi Ann McGuire	Wed 6:45 PM - 9:30 PM In Person
Description This course plunges students into content and ideas that universities often leave until graduate school, as we consider the role played by the 'critical' in 'visual and critical studies.' For the past ten years, it has been referred to as 'a primer for the art world.' It will still, mostly, provide you with a working vocabulary and crash course as to bodies of knowledge integral to the study of visual culture. At the same time, to productively engage in a reflective critique of society and culture, it will consider 'texts' from as diverse and contemporaneous a group of scholars, theorists, critics, and cultural producers as possible, from both inside and outside the academic institution.	Class Number 2207	Credits 3	Department Visual and Critical Studies Area of Study Theory Location Lakeview - 205
Beginning Graphic Design	2001 (001)	Mary Krysinski	Mon 9:00 AM - 3:00 PM In Person
Description In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3?4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses. Prerequisites Prerequisite: VISCOM 1001 and 2011	Class Number 1782	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1214
Introduction to Sound Practices	2001 (002)	Whitney D. Johnson	Wed 9:00 AM - 3:00 PM In Person
Description This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.	Class Number 1756	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 420
Painting Practice	2001 (002)	Andrew Falkowski	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 1627	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Introduction to Sculptural Practices	2001 (002)	Lindsey Dorr-Niro	Thurs 9:00 AM - 3:00 PM In Person
Description This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture. Prerequisites Prerequisite: Must be a sophomore or above.	Class Number 1708	Credits 3	Department Sculpture Location 280 Building Rm 015
Beginning Graphic Design	2001 (002)	Jiwon Son	Tues 9:00 AM - 3:00 PM In Person
Description In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3?4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses. Prerequisites Prerequisite: VISCOM 1001 and 2011	Class Number 1783	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1214
Beginning Graphic Design	2001 (003)	Mark Addison Smith	Wed 9:00 AM - 3:00 PM In Person
Description In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3?4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses. Prerequisites Prerequisite: VISCOM 1001 and 2011	Class Number 1803	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1214
Painting Practice	2001 (003)	Francesca Bayegan	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 1628	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Introduction to Sculptural Practices	2001 (003)	Dan Price	Mon 9:00 AM - 3:00 PM In Person
Description This course is an introduction to the materials, methods, and concepts of sculpture. We will investigate making in relation to material, time and space. We will consider aspects of sculpture such as meaning, scale, process, social engagement, ephemera and site; and explore the formal properties and expressive potential of materials including mold making and casting, wood, metal and experimental media. We will combine the use of materials and methods with ideas that reflect the history of contemporary sculpture. Demonstrations and authorizations will provide students with experience and technical proficiency in sculptural production while readings and slide lectures venture into the critical discourses of sculpture. Prerequisites Prerequisite: Must be a sophomore or above.	Class Number 1718	Credits 3	Department Sculpture Location 280 Building Rm 023
Introduction to Sound Practices	2001 (003)	James Paul Wetzel	Thurs 9:00 AM - 3:00 PM In Person
Description This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject. Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details. Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.	Class Number 1762	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 420
Beginning Graphic Design	2001 (004)	Jiwon Son	Fri 9:00 AM - 3:00 PM In Person
Description In this course students explore the principles of visual communication by creating two-dimensional printed comprehensive layouts, and three-dimensional mock-ups. Stress is placed on process and development of solutions to problems; idea and form exploration; research; image and text development; compositional structure and hierarchy; verbal, technical, and hand skills. The course also covers the technical aspects of graphic design such as printing methods, papers, and binding. Students will produce 3?4 finished pieces exploring the use of image and type in both single page format, multi-page format, and possibly three-dimensional format. These projects are to be included in the VCD department's obligatory portfolio review for advancement into the VCD intermediate courses. Prerequisites Prerequisite: VISCOM 1001 and 2011	Class Number 1812	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1214
Painting Practice	2001 (004)	Diana Motta	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 1629	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Painting Practice	2001 (005)	Lisa DeAbreu	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 1630	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (006)	Karen Azarnia	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 1631	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Painting Practice	2001 (007)	Sheridan Gustin	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 1632	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (008)	Atticus Gordon	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 1633	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Painting Practice	2001 (009)	Dan Devening	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 1653	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (010)	Robert Burnier	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 1654	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (011)	Alexis de Chaunac	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 1666	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (012)	Jonathan Worcester	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 1667	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Painting Practice	2001 (013)	Divyangi Shukla	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 1668	Credits 3	Department Painting and Drawing Location 280 Building Rm 323
Painting Practice	2001 (014)	Dylan Rabe	Fri 9:00 AM - 3:00 PM In Person
Description Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.	Class Number 1669	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Painting Practice	2001 (016)	Noelle Africh	Sat 10:00 AM - 4:00 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 1671	Credits 3	Department Painting and Drawing Location 280 Building Rm 325
Image Studio	2002 (001)		Wed 8:30 AM - 11:15 AM In Person
Description Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information. We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1785	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1213
Woven Structure Basics	2002 (001)	Jerry Bleem	Tues 9:00 AM - 3:00 PM In Person
Description This course is an introduction to floor loom hand weaving through the study of basic weave structures, woven image techniques and fiber types. Traditional and experimental use of material and technique will be used to explore double weaves, painted warps and a variety of hand-manipulated techniques including tapestry, brocade and inlay. Students will study the global histories of woven cloth through a variety of readings, presentations, and class discussions. Works by artists such as Diedrick Brackens, Lenore Tawney, and Gunta Stolzl will be discussed as well as writings by thinkers such as Anni Albers, T'ai Smith, Dieter Hoffman-Axthelm as primary points of departure. Students will study basic weaving draft patterns and will complete independent research into artists and techniques of interest. The conceptual and material considerations of contemporary craft-based art will be a major component of this course. Students will produce 2-6 finished weavings over the course of the semester through their exploration and research of a variety of techniques on 4-harness floor looms.	Class Number 1391	Credits 3	Department Fiber and Material Studies Location Sharp 1011
Beginning Etching	2002 (001)	Anna Laure Kielman	Mon 9:00 AM - 3:00 PM In Person
Description Students are introduced to basic intaglio methods such as drypoint, soft ground, line etch and aqua tint. Use of specific tools and papers is an essential part of the course. Through examples, discussion and demonstrations students will learn to identify and select methods that suit their expressive needs and concepts.	Class Number 1561	Credits 3	Department Printmedia Location 280 Building Rm 223
Comics	2002 (001)	Sara Varon	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 1638	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
Arch/Inarch: Ugrd Studio 2	2002 (001)	Keefer Dunn	Mon/Wed 9:00 AM - 3:00 PM In Person
Description ARCH/INARC Studio 2 is a two-day core design studio that expands the architecture and interior architecture design skills and research capabilities explored in Studio 1. Design projects of increasing complexity and scale are generated, critiqued and refined. Research includes contemporary architecture, site research, urban context, and critical design issues of theory and construction. Students utilize hand sketching, digital visualization, photography, and physical modeling to present design project work with expanding sophistication. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO software template. Prerequisites Pre:ARCH/INARC 2001	Class Number 1012	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1406B
Image Studio	2002 (002)	Donald Pollack	Thurs 9:00 AM - 3:00 PM In Person
Description Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information. We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1784	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1213
Comics	2002 (002)	Johnny Sampson	Mon/Wed 6:45 PM - 9:15 PM In Person
Description The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.	Class Number 1639	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
Arch/Inarch: Ugrd Studio 2	2002 (002)	Jaak Jurisson	Mon/Wed 9:00 AM - 3:00 PM In Person
Description ARCH/INARC Studio 2 is a two-day core design studio that expands the architecture and interior architecture design skills and research capabilities explored in Studio 1. Design projects of increasing complexity and scale are generated, critiqued and refined. Research includes contemporary architecture, site research, urban context, and critical design issues of theory and construction. Students utilize hand sketching, digital visualization, photography, and physical modeling to present design project work with expanding sophistication. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO software template. Prerequisites Pre:ARCH/INARC 2001	Class Number 1013	Credits 6	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1406A
Image Studio	2002 (003)	Donald Pollack	Fri 9:00 AM - 3:00 PM In Person
Description Image Studio is a course that challenges students to interpret, critically read text, conceptualize, and assess project parameters to implement design solutions. The creative process is a core focus throughout the assignments. The goal of this course is to explore the process of creating original imagery and visual information. We utilize digital and analog means to create design solutions to projects that also require fundamental explorations with typography. We explore a diverse means of image construction from paper collage to photography and Photoshop manipulation. Form studies examine design basics such as juxtaposition, repetition, and progression as well as the use of metaphor, analogy, and semiotics. The introduction of design context, audience awareness, and sequential narrative is also addressed. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101.	Class Number 1806	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1213
Comics	2002 (003)	Kevin Huizenga	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 1640	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 308
Comics:Drawing Outside The Boxes	2002 (004)	Jeffrey David Brown	Tues 9:00 AM - 3:00 PM In Person
Description It can be easy for students to become so focused on the final product of art making that they lose sight of the importance of process. To that end, this studio class aims to encourage students to play and experiment within the medium of comics, creating projects with methods they wouldn?t normally use, and avoiding the urge to fall back on their usual or expected ways of working. Students will not need to worry about making a great piece of art, and instead can learn more about their own art practice and what does or doesn?t work for them. This class will look at a variety of artists, genres, and forms in the comics medium. The types of comics investigated may include everything from traditional superhero genre comics, to handmade art comics, graphic novels, abstract comics, newspaper gag comics, and even content that may or may not be considered comics, depending on how one defines ?comics.? Students will also be encouraged to share their favorite comics or whatever they?re currently reading, and to look into books and comics they aren?t familiar with. After casual critiquing of the previous week?s work, each class begins a new project or exercise that starts with a prompt or general parameters, which students use as starting points to follow in whatever direction interests them.	Class Number 1641	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
Comics	2002 (005)	Cecilia Beaven	Tues 3:30 PM - 9:15 PM In Person
Description The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.	Class Number 1642	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
Comics	2002 (006)	Bianca Xunise	Tues 3:30 PM - 9:15 PM In Person
Description The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.	Class Number 1643	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 308
Comics: Remote	2002 (007)	Aaron Renier	Tues 6:45 PM - 9:30 PM All Online
Description The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.	Class Number 1644	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location Online
Comics: Autobiography	2002 (008)	Sophie Goalson	Wed 9:00 AM - 3:00 PM In Person
Description This course explores nonfiction narratives told in the first person. Students will read and discuss examples of memoir, personal essay, journalism, and diary comics, as well as more experimental formats. Truth, point of view, and ethics will be examined, particularly in how they work along with storytelling, tone, style, and other formal aspects of comics. The work created by the students will vary broadly based on their interests and personalities, with the general goal of self-examination. Readings and guest artists will vary each semester. Selected readings include graphic novels and mini-comics that have been published recently by both large publishers and self-published by individual cartoonists. Skype visits allow students to ask questions of comics artists, critics, publishers, and distributors. Past guests have included artists Julia Wertz, Carta Monir, Summer Pierre, and John Porcellino, Lauren Weinstein, critic Rob Clough, and publisher Raighne of 2dcloud. Some additional artists that I often introduce are Gabrielle Bell, Vanessa Davis, Lisa Hanawalt, Sarah Gliddens, Karl Stevens, Kevin Budnik, Roz Chast, Cara Bean, and Liana Finck. Students will reproduce 16 copies of a 24 or more page comic, which will be distributed to the class during the final critique. They will complete one or more pages each week, which will be critiqued and discussed throughout the whole semester. Students will read several books and online comics, which will be discussed in class.	Class Number 1648	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
Comics	2002 (009)	Marnie Galloway	Thurs 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 1655	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 308
Comics of the Fantastic	2002 (010)	Anya Pauline Davidson	Thurs 3:30 PM - 9:15 PM In Person
Description Horror, Science Fiction and Fantasy comics began as popular entertainment, intended to sell units on newsstands with lurid cover art and shocking story titles, but artists have always used the genres to investigate such complex topics as identity, illness and the body, and to lay bare the structural forces behind racism, sexism and political oppression. Students will read some classic works as well as a handful of contemporary pieces that use genre as a jumping-off point. Throughout the class, they will make a number of short comics that investigate contemporary life through the lens of the fantastic, to be collected and presented in the form of a printed zine.	Class Number 1659	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
Comics: Idea to Execution	2002 (011)	Sara Varon	Sat 10:00 AM - 4:00 PM In Person
Description Good stories can come from anywhere, and any story can be interesting no matter the subject matter. This class will focus on the best way to create concepts for stories and how to properly execute them, with a strong emphasis on writing, revision, using the proper tools, artistic process and drawing technique. Students will complete short, one to two page stories each week, while also working toward three six to eight page stories that will be compiled into their own printed comic at the end of the semester. Various comic samples will be provided from a range of diverse sources. Short story assignments will be assigned in the beginning of the semester that will focus on specific aspects of making comics (i.e. perspective, using reference, creating mood, etc). Students will also be making three longer stories that will be compiled into one comic at the end of the semester.	Class Number 1660	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 308
Comics:Advanced	2002 (012)	Jeremy R Tinder	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 1661	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
Comics	2002 (013)	Sam Sharpe	Fri 9:00 AM - 3:00 PM In Person
Description The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.	Class Number 1662	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 306
Arch/Inarch: Light and Space	2003 (001)	Stephanie Slaughter	Wed 9:00 AM - 3:00 PM In Person
Description Light is a miraculous condition both conceptually and physically in the fact that it is a medium which can not be touched or held, etc. Light in combination with space creates containers for the production of what can only be described as auras. The ephemeral conditions which light produces actually changes and alters the spaces we inhabit daily. The course Light & Space is designed to develop and expand both artistic and architectural sensibilities for students in the exploration of natural and artificial light as a medium. This one day a week studio is structured around a series of lectures about the comparison between Architects and Artists through exercises involving both physical and digital models within the city of Chicago. The exercises will introduce students on how to construct and assemble spaces in order to control light and the effects it has on inhabitants of architectural surroundings. The instructors of Light & Space present a series of case study comparisons between architects and artists as a means to open the possibilities for extreme experimentation within the studio setting. Students final project of the semester is the curation of the collection of imagery designed and rendered via all exercises, but open ended for each individual student?s interpretation and personal expression of social, political, and gender issues, etc. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1014	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1255
Slow Photo	2003 (001)	Monika Niwelinska	Fri 9:00 AM - 3:00 PM In Person
Description This course is designed for students who have a basic knowledge of photography and its materials and an interest in the use of the photo image as part of a broad vocabulary of image-making processes. Students explore cyanotype, van dyke brown, gum bichromate printing, collage, reproduction, and transfer techniques, and are given a basic working knowledge of the graphic arts films and print films. Also covered: Polaroid materials, copy machines, computer graphics, and applied color. Ideas related to text, installation, and performance may also be explored. Each student is encouraged to experiment in both silver and non-silver processes and to conduct research independently. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1519	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 216
Fashion Construction II	2003 (001)	Pamela Vanderlinde	Fri 9:00 AM - 3:00 PM In Person
Description Fashion Construction II builds the fundamentals of construction through a unique combination of pattern drafting, draping on the form, and sewing techniques, expanding to principles of the torso block, shirt-, and dress variations, as well as adding more variance in finishes and closures. Students develop and construct design concepts and explore variations, first in muslin, then in fabric, and will complete 2 garments. Pre-req: FASH 2001 Prerequisites Student must have completed FASH 2001, 2022, or 2024	Class Number 1385	Credits 3	Department Fashion Design Location Sullivan Center 706
Beginning Lithography	2003 (001)		Mon 9:00 AM - 3:00 PM In Person
Description In this course students are introduced to stone lithography. Through this planographic printing process it is possible to translate hand-drawn and hand-painted images into multiples and/or multi-color pieces. Emphasis is placed on gaining a thorough understanding of the techniques and principles of lithography through class demonstrations, instruction, individual projects, discussion and critiques.	Class Number 1543	Credits 3	Department Printmedia Location 280 Building Rm 221
Arabic I	2003 (001)	Wael Fawzy	Tues 6:45 PM - 9:30 PM In Person
Description Arabic I ???? is a fully integrated introductory course for students with no background in the language. The course is designed for beginning students whose learning objectives and needs are in any of the following categories: continued language study, business purposes, or travel. Students will learn to speak and understand Modern Standard Arabic (MSA) and read and write Arabic script. Students will develop speaking and listening skills through audiovisual media, interactive fun activities, and paired dialogue practices. There will be a strong emphasis on oral proficiency needed to provide the necessary framework to communicate clearly and effectively. These objectives will be achieved through the following approaches: speaking, listening, reading, writing, and cultural studies. Prerequisites Prerequisite: First Year English requirement.	Class Number 1498	Credits 3	Department Liberal Arts Location Lakeview - 1427
Color	2003 (001)	Steven Husby	Mon 9:00 AM - 3:00 PM In Person
Description This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice. In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work.	Class Number 1645	Credits 3	Department Painting and Drawing Area of Study Graphic Design, Illustration Location 280 Building Rm 308
Color	2003 (002)	Sam Jaffe	Tues 9:00 AM - 3:00 PM In Person
Description This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice. In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work.	Class Number 1646	Credits 3	Department Painting and Drawing Area of Study Graphic Design, Illustration Location 280 Building Rm 308
Print for Fabric and Alternative Materials I	2004 (001)	Sarita Garcia	Mon 9:00 AM - 3:00 PM In Person
Description In this course, a wide range of processes for screenprinting onto fabric and alternative substrates are demonstrated, including the use of textile inks, fiber reactive dyes, resist and discharge, and heat transfers of foils and disperse dyes. Students will use hand drawn, computer generated, and photographic images to explore foundational screen print techniques and concepts such as monoprinting, multiples, color relationships, composition, and basic repeat patterns. Interdisciplinary and experimental uses of the printed surface are encouraged throughout the development of personal research and practice. The class is augmented by relevant lectures, readings and visits to AIC, artist studios and galleries. Students present finished and in-process works at three critiques throughout the semester.	Class Number 1401	Credits 3	Department Fiber and Material Studies Location Sharp 905
Form and Meaning	2004 (001)		Tues 8:30 AM - 11:15 AM In Person
Description Form and Meaning is a rigorous investigation of the art of moving image editing and provides a historical and theoretical understanding of both classical film editing and newer modes and models of editing and perception. The course provides a working foundation and framework. A close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing cinematic works. In addition, we will look at examples and discuss how editing functions for the installation artist, and further, how the Internet, New Media, television and video art have made an impact on concepts surrounding editing. Weekly readings will expand on the work presented in class. Students should expect to research and write both a midterm and final papers as well as a few short responses to works presented in class. Form and Meaning is a theory-based seminar and is not designed to offer critique for works in progress. Prerequisites Prerequisite: FVNM 2000	Class Number 1415	Credits 3	Department Film, Video, New Media, and Animation Area of Study Public Space, Site, Landscape, Social Media and the Web Location MacLean 517
The Inadequate Body	2004 (001)	Sungjae Lee	Thurs 3:30 PM - 9:15 PM In Person
Description This course interrogates the theory and practice of body based performance by exploring innovative ways of creating with, and thinking about the untrained body. The ethos of the course is to encourage students to question the function and boundaries of the body in performance and everyday life. What happens when the body can't go on, but must go on? Through a series of intensive workshops and discussions, students will interrogate and redefine notions such as control, virtuosity, discipline, stamina and skill to establish the parameters of what a body is unable physically to do or signify, and how may this failure be used for other ends.	Class Number 2050	Credits 3	Department Performance Location 280 Building Rm 012
Form and Meaning	2004 (002)		Wed 8:30 AM - 11:15 AM In Person
Description Form and Meaning is a rigorous investigation of the art of moving image editing and provides a historical and theoretical understanding of both classical film editing and newer modes and models of editing and perception. The course provides a working foundation and framework. A close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing cinematic works. In addition, we will look at examples and discuss how editing functions for the installation artist, and further, how the Internet, New Media, television and video art have made an impact on concepts surrounding editing. Weekly readings will expand on the work presented in class. Students should expect to research and write both a midterm and final papers as well as a few short responses to works presented in class. Form and Meaning is a theory-based seminar and is not designed to offer critique for works in progress. Prerequisites Prerequisite: FVNM 2000	Class Number 1426	Credits 3	Department Film, Video, New Media, and Animation Area of Study Public Space, Site, Landscape, Social Media and the Web Location MacLean 517
Sketching for Designed Objects	2005 (001)	Zachary Manuel	Tues 9:00 AM - 3:00 PM In Person
Description This course will provide the student with the skills to create design concept sketches (ideation/thinking) that will communicate with the viewer and visualize the design concept as a design object using sketch renderings to define and communicate the object's form and function. Instructions will focus on freehand marker sketching for ideation/thumbnails, shading, form development and rendering, followed by orthographic projection (measured technical drawing) and two-point perspective. Each of these skills will be demonstrated in class and on a one to one basis during the semester In each class I will share design drawings from my collection that show a history of sketching styles for presentations using Prismacolor Pencils and NuPastels to markers, along with marker drawings for clients that I and other designers have created in product, packaging and display projects. These presentations will also be used to lecture on the history of design drawing styles and techniques. Students will be given three design projects in which they will go through the design process of starting with ideation sketches, followed by design selection, renderings and an orthographic drawing of the final design. The first project focuses on the development of forms, the next two projects have an emphasis on ideas and drawing skills. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1259	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1255
Throwing: Multilevel	2005 (001)	Nancy Fleischman	Sat 10:00 AM - 4:00 PM In Person
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
Shape And Theory In Garments	2005 (001)	Bambi Deidre Breakstone	Tues 9:00 AM - 3:00 PM In Person
Description Explorations in the design of 'experimental' garments using the basic elements of mass, volume, form and motion. Rather than concerning themselves with current design trends or regular fashion problems, students emphasize bodies as forms in motion or as moving sculpture.	Class Number 1373	Credits 3	Department Fashion Design Area of Study Costume Design, Community & Social Engagement Location Sullivan Center 727
Stitch	2005 (001)	Christian Ortiz	Mon 9:00 AM - 3:00 PM In Person
Description This course explores various approaches to altering, enriching, and transforming the surface of pliable materials and forms. Emphasis is on the surface treatment and its relationship to structure while using conventional and non-conventional materials. Students work with a broad range of hand and machine stitching techniques that can include embroidery, embellishment, piecing, quilting, applique, and working with treatments like paints, dyes, adhesives, and collage. Special attention is paid to the histories of these techniques and how they are being utilized in contemporary art. Technical demonstrations, assigned readings, group discussions, lectures and field trips will augment student learning. The course is structured to support students in the development of their studio arts practice by equipping them with a variety of technical skills and encouraging them to pursue projects driven by their own formal, material, and conceptual concerns. Individual and group critiques are integral to the course. Course work will vary but typically includes the creation of samples, critique projects, and reading responses.	Class Number 1396	Credits 3	Department Fiber and Material Studies Area of Study Costume Design Location Sharp 1014
Beginning Screenprinting	2005 (001)	Oli Watt	Fri 9:00 AM - 3:00 PM In Person
Description In this course, students acquire technical proficiency in the various stencil printing methods. Individual exploration and development in the medium is encouraged and supported by individual instruction and group critiques.	Class Number 1544	Credits 3	Department Printmedia Location 280 Building Rm 222
Sonics and Optics	2005 (001)	Kioto Aoki	Mon 9:00 AM - 3:00 PM In Person
Description Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work. In-class screenings of films and videos and weekly readings will expand on the technical workshops at the core of the course. Students should expect to complete a series of quick technical exercises as well as a more in depth final project. Prerequisites Prerequisite: FVNM 2000	Class Number 1416	Credits 3	Department Film, Video, New Media, and Animation Area of Study Game Design, Digital Imaging, Animation Location MacLean 1304
French I	2005 (001)	Elizabeth Chalier-Visuvalingam	Tues 12:15 PM - 3:00 PM In Person
Description An introductory course in reading, writing and conversational French. Prerequisites Prerequisite: First Year English requirement.	Class Number 1495	Credits 3	Department Liberal Arts Location Lakeview - 206
Sketching for Designed Objects	2005 (002)	Hector Silva	Fri 9:00 AM - 3:00 PM In Person
Description This course will provide the student with the skills to create design concept sketches (ideation/thinking) that will communicate with the viewer and visualize the design concept as a design object using sketch renderings to define and communicate the object's form and function. Instructions will focus on freehand marker sketching for ideation/thumbnails, shading, form development and rendering, followed by orthographic projection (measured technical drawing) and two-point perspective. Each of these skills will be demonstrated in class and on a one to one basis during the semester In each class I will share design drawings from my collection that show a history of sketching styles for presentations using Prismacolor Pencils and NuPastels to markers, along with marker drawings for clients that I and other designers have created in product, packaging and display projects. These presentations will also be used to lecture on the history of design drawing styles and techniques. Students will be given three design projects in which they will go through the design process of starting with ideation sketches, followed by design selection, renderings and an orthographic drawing of the final design. The first project focuses on the development of forms, the next two projects have an emphasis on ideas and drawing skills. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1267	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1406A
Sonics and Optics	2005 (002)	Daniele Wilmouth	Fri 9:00 AM - 3:00 PM In Person
Description Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work. In-class screenings of films and videos and weekly readings will expand on the technical workshops at the core of the course. Students should expect to complete a series of quick technical exercises as well as a more in depth final project. Prerequisites Prerequisite: FVNM 2000	Class Number 1432	Credits 3	Department Film, Video, New Media, and Animation Area of Study Game Design, Digital Imaging, Animation Location MacLean 1304
Accessory Design	2006 (001)	William Walton	Fri 9:00 AM - 3:00 PM In Person
Description In this workshop, students create various accessories from original ideas. This program is divided into projects such as the design and construction of embellished evening bags, summer totes, gloves, costume jewelry, and millinery. Emphasis is placed on references to history of individual accessories and developing collections of illustrations in color.	Class Number 1355	Credits 3	Department Fashion Design Area of Study Product Design Location Sullivan Center 727
Etching:Multi-Level	2006 (001)	Eliza Myrie	Fri 9:00 AM - 3:00 PM In Person
Description Students learn methods used in making intaglio prints. Demonstrated techniques include etching, drypoint, and engraving, as well as a variety of experimental approaches to plate making and printing.	Class Number 1560	Credits 3	Department Printmedia Location 280 Building Rm 223
The Human Figure in 3D	2007 (001)	Mark N. Stafford	Mon 9:00 AM - 3:00 PM In Person
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
Beginning Fashion Illustration	2007 (001)	Laura Mae Noble	Tues 9:00 AM - 3:00 PM In Person
Description This course develops drawing skills with an emphasis on figure gesture and proportion along with a wide range of media. Students are taught to sketch from a live model while communicating design concepts in clothing with style and expression.	Class Number 1356	Credits 3	Department Fashion Design Area of Study Costume Design, Illustration Location Sullivan Center 734
Beginning Fashion Illustration	2007 (002)	Dijana Granov	Thurs 9:00 AM - 3:00 PM In Person
Description This course develops drawing skills with an emphasis on figure gesture and proportion along with a wide range of media. Students are taught to sketch from a live model while communicating design concepts in clothing with style and expression.	Class Number 1363	Credits 3	Department Fashion Design Area of Study Costume Design, Illustration Location Sullivan Center 734
Mold Making and Casting	2008 (001)	Jeffrey Prokash	Thurs 9:00 AM - 3:00 PM In Person
Description This course offers instruction in various methods of casting, including simple plaster molds, hydrocal-cement casts, simple body casts, thermal-setting rubber molds, wax, terra cotta, and paper casting. Students are advised to bring objects they desire to cast. (No hot metal casting in this course.)	Class Number 1703	Credits 3	Department Sculpture Location 280 Building Rm 030
Chinese I	2008 (001)	Marie Meiying Jiang	Tues 6:45 PM - 9:30 PM All Online
Description Chinese I is designed for beginners who take Chinese as a foreign language. Students who speak Chinese as their native language are not allowed to attend this course. Students who have taken Chinese study in the past are required to take the evaluation test and gain approval of the instructor to enroll. Students will study the Chinese Mandarin sound system PIN YIN, the basic strokes from the Chinese Calligraphy, Chinese numbers, common Chinese Radicals and Lessons 1-5 of <> (Level 1 Part 1). Students can speak and write systematically more than 150 essential vocabulary words, master the key grammatical structures, build the real-life communicative skills. They will also write and tell a story about themselves and their interests on Chinese paper utilizing 150 characters. Prerequisites Prerequisite: First Year English requirement.	Class Number 1496	Credits 3	Department Liberal Arts Location Online
Self(ish): The Fantasy of Autobiographical Performance	2008 (001)	Vanessa Damilola Macaulay	Tues 9:00 AM - 3:00 PM In Person
Description Throughout the course, we will engage deeply with themes of the 'self', exploring the 'I' in the world. Autobiography in performance can encourage self-reflection, creation, and the exploration of one¿s identity as it changes; it also allows us to imagine who we might become in the future. While using personal experience as a starting point, it is essential to forge some distance between yourself and the work when working with autobiographical material. Therefore, students will engage with the self-ish, exploring the interplay between fact/fiction, personal/political, and real/imagined. Autobiographical performance art validates the intersectionality of multiple identities through experimentation with the meanings of identity labels and the potential discovery of ways they intersect, separate, and coincide with race, gender, class, sexuality, and ability. Throughout the course, we will explore the various modes artists have utilized autobiography. An example of the artists we will examine below: Greg Wohead, Bill T Jones,Bryony Kiimmings, Selina Thompson, Zanele Muholi, Lina Iris Viktor and Lizz Aggiss. Alongside the artistic case studies, the key texts for this course include: Bruno, S. and Dixon, L. 2014. Creating Solo Performance (Oxon & New York, Routledge); Heddon, D. 2008. Autobiography and Performance (Basingstoke, Palgrave Macmillan); Cavarero, Adriana. 2000. Relating Narratives: Storytelling and Selfhood (Oxon and New York: Routledge); Johnson, J. 2017. Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities (New Brunswick, Camden and Newark, New Jersey and London: Rutgers University Press). Course work will vary but typically includes weekly performance responses in the form of studio labs, a mid-term proposal, and a solo final project.	Class Number 2053	Credits 3	Department Performance Area of Study Class, Race, Ethnicity, Playwriting/Screenwriting, Public Space, Site, Landscape Location MacLean 2M
Medium Format	2009 (001)	Nathan Miller	Thurs 9:00 AM - 3:00 PM In Person
Description This course will explore the methods, history and potential of medium format film photography. Students will learn to use a wide variety of medium format cameras including the Mamiya 7, Mamiya RZ 67, Mamiya 645, Pentax 67, Holga and various Hasselblad systems. Using a wide variety of black and white and color medium format films, students will become familiar with several film development techniques, and both analog and digital printing methods to create traditional and experimental photographic work. Prerequisites Prerequisite: 3 credits of PHOTO 1000 level courses.	Class Number 1521	Credits 3	Department Photography Area of Study Digital Imaging Location 280 Building Rm 214
Chance and Intentionality	2009 (001)	Patrick Durgin	Tues 8:30 AM - 11:15 AM In Person
Description If a society?s order of reasons disempowers its citizens, why not weaponize the irrational? This was the premise of various, systemic reactions against the ?ego? in the midlate 20th century. In Europe, the United States, and former colonies, some of this activity can be read as an extension of the historical avant garde?s investigation of altered states of consciousness and ?madness.? The neo-avant garde sometimes used the tools of rational science to deconstruct its premises, reconstruct the real, and promote a more demotic culture. This course takes an international approach and samples practices and discourses of Dadaism, Surrealism, free jazz, performance and conceptual art, dance, film, ?relational aesthetics,? and experimental poetics. We will place a special emphasis on the way indeterminacy claims to ameliorate conflicts between political commitment and aesthetic quality. Expect to encounter works by Francis Alys, Anthony Braxton, John Cage, Aime Cesaire, Fischli & Weiss, Helio Oiticica, Huang Yong Ping, Jorge Macchi, Jackson MacLow, Gerhard Richter, Apichatpong Weerasethakul, Hannah Weiner, and others. Course work will vary but typically includes weekly written responses, moderate reading assignments, listening and viewing, avid participation in class discussions, one creative/curatorial project, one research presentation, and a final essay. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1078	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Economic Inequality & Class, Community & Social Engagement Location MacLean 301
German I	2009 (001)	Kimberly Kenny	Thurs 12:15 PM - 3:00 PM In Person
Description An introductory course in reading, writing, and conversational German. Prerequisites Prerequisite: First Year English requirement.	Class Number 1494	Credits 3	Department Liberal Arts Location MacLean 919
Color Concepts	2010 (001)	Matthew C. Siber	Fri 9:00 AM - 3:00 PM In Person
Description Color Concepts introduces complex ideas and processes associated with the various applications of color in photography. Emphasis is on conceptual, theoretical, cultural, and perceptual aspects of color related to both vision and photographic image-making. The class explores all aspects of color photography. It traces the roots of analog three-color photographic processes first theorized in 1855, less than 30 years after the advent of black and white photography, and explores the successes and the limitations of color film (for example, the racial bias of color film.) Lastly, the class examines contemporary color dominant popularity amongst artists since the 1970s, through the context of a color constructed digital future. Through a variety of exercises and assignments students will develop a keen eye to seeing color in the world and on the screen, use peer discussion and collaboration to advance critique skills, and build aptitude for visual literacy. Technical skills learned, include image capture, color correction, qualities of light, color corrected printing on varying scales and media, digital camera and medium format film camera authorizations, strategies of presentation while expanding on digital skills introduced in PHOTO 1001. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1514	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 215
Creative Process as Art Therapy	2010 (001)	Claudia Angel	Tues 8:30 AM - 11:15 AM In Person
Description This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.	Class Number 1131	Credits 3	Department Art Therapy Area of Study Community & Social Engagement Location Sharp 403
Production Design for Theater and Film	2010 (001)	James Paul	Fri 9:00 AM - 3:00 PM In Person
Description Production design for stage and screen is explored, emphasizing the collaborative world of theater and film. Students communicate with playwrights, scriptwriters, producers, and directors to understand their role as artists and designers. From 'no-budget to big-budget' productions, students explore the highs and lows of real world design through various projects. Student design teams create costumes, sets and props to understand the coordination of efficient and supportive group dynamics. Particular connections the off-Loop theater movement and the indie film scene.	Class Number 1357	Credits 3	Department Fashion Design Area of Study Furniture Design Location Sullivan Center 723
Mechanisms, Movement & Meaning	2010 (001)	Dan Miller	Tues 9:00 AM - 3:00 PM In Person
Description Consider how object based movement creates both meaning and tone, and how movement functions much like non-verbal communication. We'll attempt to approach the technical matters of controlling motion from the aesthetic perspective of an animator or a dancer. The course introduces basic techniques for creating moving parts appropriate for a broad range of creative and material practices. Technical matters covered through exercises include motors, speed control, fabrication of moving parts and simple circuits for motor control. Self-determined projects will demonstrate mastery of skills and concepts.	Class Number 1109	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location MacLean B1-07
Spanish II	2010 (001)	Sabra Duarte	Thurs 3:30 PM - 6:15 PM In Person
Description This is a continuing course in reading, writing, and speaking Spanish. Prerequisite: LANGUAGE 2001 Spanish I. Prerequisites Prerequisite: LANGUAGE 2001.	Class Number 1500	Credits 3	Department Liberal Arts Location Lakeview - 203
Watercolor	2010 (001)	George Liebert	Fri 9:00 AM - 3:00 PM In Person
Description This course explores the materials and methods used in watercolor painting. Included are dry and wet paper techniques, resist processes, and experimental techniques.	Class Number 1585	Credits 3	Department Painting and Drawing Location 280 Building Rm 308
Creative Process as Art Therapy	2010 (002)	Joanne Ramseyer	Wed 12:15 PM - 3:00 PM In Person
Description This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.	Class Number 1132	Credits 3	Department Art Therapy Area of Study Community & Social Engagement Location Sharp 404
Beginning Typography	2011 (001)	Martha Chiplis	Mon 9:00 AM - 3:00 PM In Person
Description This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012.	Class Number 1786	Credits 3	Department Visual Communication Design Area of Study Digital Communication, Graphic Design, Books and Publishing Location Sharp 1213
Black and White	2011 (001)	Lali Khalid	Tues 9:00 AM - 3:00 PM In Person
Description This course introduces black-and-white printing techniques including darkroom and inkjet printing, contrast control through development, the zone system, scale of images, graphic arts film, studio lighting, different darkroom techniques, alternative cameras, and different papers and films. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1515	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 206
Digital Methods for Ceramic Production	2011 (001)	Mark N. Stafford	Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
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
Beginning Typography	2011 (002)		Tues 9:00 AM - 3:00 PM In Person
Description This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012.	Class Number 1788	Credits 3	Department Visual Communication Design Area of Study Digital Communication, Graphic Design, Books and Publishing Location Sharp 1117
Black and White	2011 (002)	Robert Clarke-Davis	Fri 9:00 AM - 3:00 PM In Person
Description This course introduces black-and-white printing techniques including darkroom and inkjet printing, contrast control through development, the zone system, scale of images, graphic arts film, studio lighting, different darkroom techniques, alternative cameras, and different papers and films. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1516	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 206
Beginning Typography	2011 (003)	Mary Krysinski	Thurs 9:00 AM - 3:00 PM In Person
Description This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012.	Class Number 1787	Credits 3	Department Visual Communication Design Area of Study Digital Communication, Graphic Design, Books and Publishing Location Sharp 1117
Beginning Typography	2011 (004)		Fri 9:00 AM - 3:00 PM In Person
Description This studio course explores typography's impact on language to create meaning, organization and tone. Students experiment in typographic composition and page structure with special regard to the flow and rupture of different text types and reading scenarios. Students learn the technical aspects of typography (specification and copyfitting), methods for composing dynamic multipage formats (combining digital and analog), and contexts (both historical and structural) for understanding the vast repository of typefaces. This course is a core requirement for the Visual Communication Design portfolio review. The framing text for this class is Ellen Lupton's Thinking with Type. But students will be introduced to numerous examples from the history of (predominantly Western) letterforms and concretized language. Understanding these historical forms in their contexts will reveal the logic behind the modern classification of digital type. Students produce weekly type projects which are critiqued and handed in as three project sets. The first set analyses letterforms, structurally and then programmatically. The next project set covers text setting and typographic compositions of increasing semantic and syntactic complexity. The last project is a multilingual, illustrated book layout where students engage the fundamental concept of 'structured variety' over a series of pages. Prerequisites Prerequisite: VISCOM 1001 or VISCOM 1101. Corequisite: VISCOM 2012.	Class Number 1815	Credits 3	Department Visual Communication Design Area of Study Digital Communication, Graphic Design, Books and Publishing Location Sharp 1115
Type Technologies Lab	2012 (001)		Tues 3:30 PM - 4:45 PM In Person
Description This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies. Prerequisites Corequisite: VISCOM 2011 or VISCOM 1102.	Class Number 1789	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1115
Objects/Artifacts and No Nonsense	2012 (001)	Benjamin Larose	Thurs 9:00 AM - 3:00 PM In Person
Description This course cultivates a conceptual and interdisciplinary approach to fashion. Through experimentations in object-making, students will engage with traditional and non-traditional materials and processes to question how objects can engage the body. Emphasis will be placed on function through the exploration of constructive processes and placement to body and space. The course is divided in four topical sections: technique meets body, power in wearability, conceptual artifacts and material matters. Students will be introduced to artists who's work is generally associated with other disciplines but engages fashion, body and garment. For example, artists such as Leigh Bowery, Rebecca Belmore, Brian Jungen, Isa Genzken, and the readings/screenings will vary but may include Susan Sontag's Notes on Camp, Malcolm Gladwell's The Cool Hunt or Robert Friedel's Zipper: An Exploration in Novelty. Course work involves four major projects, one for each topical section, as well as in-class discussions, reading responses and presentations. The occasional field trip and follow up in-class discussion can also be included.	Class Number 1375	Credits 3	Department Fashion Design Location Sullivan Center 723
Type Technologies Lab	2012 (002)		Tues 5:00 PM - 6:15 PM In Person
Description This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies. Prerequisites Corequisite: VISCOM 2011 or VISCOM 1102.	Class Number 1790	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1115
Type Technologies Lab	2012 (003)	Kristin J Maksymiw	Thurs 3:30 PM - 4:45 PM In Person
Description This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies. Prerequisites Corequisite: VISCOM 2011 or VISCOM 1102.	Class Number 1791	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1115
Type Technologies Lab	2012 (004)	Kristin J Maksymiw	Thurs 5:00 PM - 6:15 PM In Person
Description This class is a co-requisite with Beginning Typography and closely couples with the activities of this particular studio course. The lab components will introduce students to page layout software (namely Adobe InDesign), its terminology and its specific functions, its relationship to other software packages, techniques for composing and outputting digitally, and the technical aspects of digital typography. This information will be reinforced via tutorials and short design exercises which target specific topics and techniques covered during lectures. As the semester progresses, this class also functions as a working lab for the Beginning Typography studio class, allowing students to work on the same project across both classes and receive technology assistance from the instructor. This crossover reinforces the links between digital and non-digital composing and terminologies. Prerequisites Corequisite: VISCOM 2011 or VISCOM 1102.	Class Number 1816	Credits 1.5	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging Location Sharp 1115
Beyond the Utilitarian Vessel	2013 (001)	Liz McCarthy	Tues 3:30 PM - 9:15 PM In Person
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
Relief: Multi-Level	2014 (001)	Oli Watt	Wed 9:00 AM - 3:00 PM In Person
Description In this studio course, students will explore relief printmaking techniques using woodblocks, linoleum, found-objects, foam, monoprints and digital processes. Students will learn how to properly carve, ink, and print blocks in order to create editions as well as experiment with non-traditional formats. Students will be exposed to the rich history of relief printmaking through traditional and contemporary examples, specifically works from AIC and SAIC collections. Returning students will expand upon previous projects and develop new approaches to exploring content and understanding relief techniques. Students will be exposed to a wide variety of artists from the long and rich history of relief printmaking. We will examine artists who work traditionally within the medium, as well as artists who depend upon contemporary technology to create prints. Some of the artists we will explore in this course include Durer, Hokusai, Masereel, Mendez, Zarina and Baumgartner. Over the course of the semester, students will create 10-20 prints that show an understanding of the various relief techniques demonstrated by the instructor. Students will also participate in a print exchange folio at the end of the course. Projects will be critiqued throughout the semester.	Class Number 1551	Credits 3	Department Printmedia Location 280 Building Rm 223
Lighting Fundamentals	2015 (001)	Marzena Abrahamik	Wed 9:00 AM - 3:00 PM In Person
Description Students are introduced to using light as a means for creative control. By studying the light around us, we are able to better serve our work through specific choices with regard to existing or ambient light and light augmented by other sources of illumination. Students learn the rudiments of metering, mixing light sources, including the use of on-camera or hand-held electronic flash within existing lighting conditions. This is a practical course that enables students to better control and use light and lighting in their work. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1522	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 206
3D Embellishment	2015 (001)	Eia Radosavljevic	Thurs 9:00 AM - 3:00 PM In Person
Description Designed to encourage 3-dimensional surface experimentation, this course begins with traditional embellishment methodologies primarily originating in couture millinery, as a means of altering or breaking away surfaces and dimensions. Students then explore alternative materials and methods to transform, mutate or redefine garments, accessories, etc., or to create textured objects in their entirety. To provide related information of interest, selected texts concerning the sociological theories of craftsmanship may be included as well as works by authors like Thor Hanson, Laura Jacobs, Candace Kling, Howard Risatti and Erica Wilson. Field trips to local venues, videos such as the Craft in America series, plus the investigation of works by artists like Nick Cave, Tara Donovan, the Haas Brothers, and Kate MccGwire optionally augment the course content. Projects may be based on up-cycled objects and materials, and will entail various techniques including ribbon manipulation, feather work, flower tooling, and embroidery. Fur/faux sewing and leather tooling are introduced, and other `thread arts? (macrame, tatting, etc.) may be individually investigated in support of conceptual and formal design.	Class Number 1358	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 727
Introduction to Experimental 3D	2015 (001)	Anneli Goeller	Mon 9:00 AM - 3:00 PM In Person
Description This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema. Prerequisites Prerequisite: FVNM 2000	Class Number 1425	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 519
Lighting Fundamentals	2015 (002)	Sonja Ruth Thomsen	Tues 9:00 AM - 3:00 PM In Person
Description Students are introduced to using light as a means for creative control. By studying the light around us, we are able to better serve our work through specific choices with regard to existing or ambient light and light augmented by other sources of illumination. Students learn the rudiments of metering, mixing light sources, including the use of on-camera or hand-held electronic flash within existing lighting conditions. This is a practical course that enables students to better control and use light and lighting in their work. Prerequisites Prerequisite: PHOTO 1001.	Class Number 1527	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 207
Introduction to Experimental 3D	2015 (002)	Marlena Novak	Thurs 9:00 AM - 3:00 PM In Person
Description This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema. Prerequisites Prerequisite: FVNM 2000	Class Number 1435	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Social Media and the Web, Animation Location MacLean 519
Drawn to Print	2016 (001)	Nia Easley	Thurs 9:00 AM - 3:00 PM In Person
Description A drawing is made whenever an object in motion touches the surface of another and evidence of their meeting is left behind. Images will be generated by examining a range of traditional and contemporary drawing techniques with an emphasis on analog processes and material exploration. Whether one?s style is gestural and improvisational or systemic and detail-oriented, drawing will be used as a device to access ideas and expand conceptual vocabulary. Printmaking then becomes an extension of the drawing process, infusing a richness of surface, color, texture, and layering. Examining the physical relationship between drawing and printing is a priority, with a focus on direct printing techniques such as monoprinting and heat transfers alongside hand-painting and collage. A strong emphasis will be placed on developing a personal and innovative visual language, as well as challenging notions of scale, site and material. Readings, slide presentations and field trips will focus on course related topics. Students present finished and in-process works at three critiques throughout the semester.	Class Number 1397	Credits 3	Department Fiber and Material Studies Location Sharp 905
Footwear Design	2016 (001)	James Robert Sommerfeldt	Tues 9:00 AM - 3:00 PM In Person
Description Various investigations are conducted regarding traditional and alternative shoe design and assembly. Assigned readings and discussions focus on history, materials, the designers, lifestyle, terminology and processes, and the involvement of feet and shoes in art. Emphasis is placed on interpreting the foot and shoe for visual presentations and experimenting with components for artistic and practical expression. Final critiques include presentations of one of half pairs of shoes and sandals, illustrations, weekly clipping files and a thematic selection of thematic original ideas. Group critiques are scheduled several times during the semester. Weekly slide lectures, field trips, guest lectures or demonstration enable students to develop their ideas in the studio with a focus on fit and originality.	Class Number 1359	Credits 3	Department Fashion Design Area of Study Costume Design Location Sullivan Center 723
Soft Logic	2018 (001)	Nelly Agassi	Thurs 9:00 AM - 3:00 PM In Person
Description Throughout the course students will focus on the idea of softness and develop projects framed with readings on affect, intimacy, ?radical softness?, touch, and ?soft? identities so as to tease out ideas on what it means to be soft. Students will be introduced and encouraged to experiment from texture to form with hand manipulated and machine techniques like reverse needle felting, latch hooking, tucking, stabilizing, boning, armature building, fabric heat manipulating, natural dyeing, flocking, and fringe crocheting. Readings will include Sara Ahmed?s ?Happy Objects?, Alexander Thereoux?s ?Soft Balm, Soft Menace?, and Sianne Ngai?s ?The Cuteness of the Avant-Garde?. Two experimentation samples will be required in order to manifest these conceptual underpinnings through a variety of techniques. These samples act as playful guides that leads to two major projects with written statements. This course also require artist and reading presentations.	Class Number 1398	Credits 3	Department Fiber and Material Studies Area of Study Costume Design Location Sharp 1014
Hand Knitwear Design	2018 (001)	Sharon Shoji	Mon 9:00 AM - 3:00 PM In Person
Description This course offers a straight forward instruction to the hand knit process. As an ancient process the techniques of hand knitting are explored through various methods concentrating on surface, pattern, construction, color and texture. Emphasis is placed on garment or a wearable knit object. Cultural and historical references are studied along with contemporary application to design. Demonstrations and discussions provide challenges to explore modern interpretation in traditional and non-traditional ways. Offered in the spring semester only.	Class Number 1360	Credits 3	Department Fashion Design Location Sullivan Center 701
Artists' Books	2018 (001)	Anna Laure Kielman	Thurs 9:00 AM - 3:00 PM In Person
Description Artists¿ Books is a beginning/intermediate level course that focuses on the fundamental techniques of bookbinding so as to be able to design and produce one or an edition of artists¿ books and boxes. The class begins by learning a range of traditional binding techniques, discussing material choices, and learning about the history of artists¿ books. Later on breaking out of the box to take risks, explore concepts and unconventional materials will be strongly encouraged for individual projects. In addition, the intention of this class is to meld your own studio work and personal expression with the form of artists¿ books.	Class Number 1545	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 113
Artists' Books	2018 (002)	Myungah Hyon 현명아	Tues 9:00 AM - 3:00 PM In Person
Description Artists¿ Books is a beginning/intermediate level course that focuses on the fundamental techniques of bookbinding so as to be able to design and produce one or an edition of artists¿ books and boxes. The class begins by learning a range of traditional binding techniques, discussing material choices, and learning about the history of artists¿ books. Later on breaking out of the box to take risks, explore concepts and unconventional materials will be strongly encouraged for individual projects. In addition, the intention of this class is to meld your own studio work and personal expression with the form of artists¿ books.	Class Number 1549	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 113
Artists' Books	2018 (003)		Mon 9:00 AM - 3:00 PM In Person
Description Artists¿ Books is a beginning/intermediate level course that focuses on the fundamental techniques of bookbinding so as to be able to design and produce one or an edition of artists¿ books and boxes. The class begins by learning a range of traditional binding techniques, discussing material choices, and learning about the history of artists¿ books. Later on breaking out of the box to take risks, explore concepts and unconventional materials will be strongly encouraged for individual projects. In addition, the intention of this class is to meld your own studio work and personal expression with the form of artists¿ books.	Class Number 2379	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 113
Designing Interaction	2019 (001)	George Guffey	Thurs 3:30 PM - 9:15 PM In Person
Description This core skills studio teaches how to generate impactful visual materials to effectively communicate interactions with objects, digital interfaces and within virtual spaces. Students will learn professional communication tools for prototyping screen-based interfaces, vector illustration, typographic and visual composition, and data visualization. As well as aiding design development, the tools covered will enable the successful communication of storyboarded scenarios, design research, and finished proposals for physical and screen-based presentation. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template.	Class Number 1273	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication Location Sullivan Center 1241
Designed Objects Studio One	2020 (001)	Jess Giffin	Tues 9:00 AM - 3:00 PM In Person
Description As the beginning course in the Designed Objects department, students will have an opportunity to explore different methods of working in order to begin establishing a practice that works best for them. Students will be building a strong foundation of skills and techniques needed to navigate an informed design process and successfully complete a design brief. In this hands-on class, students will learn how to find inspiration for an idea, develop that idea into a concept, and use that concept to design and fabricate a high-level, final prototype. Basic research theories and methods are introduced which are then applied towards studio projects. Fabrication and prototyping techniques are also incorporated in order to test out ideas and discover new ones. Students advance through definition, research, ideation, sketching, and modeling phases toward two? and three?dimensional representations (digital and physical) of their work that are orally defended during group critique. Readings and lecture content will vary and will focus on examples of historically relevant and contemporary designers, artists, studios, and design movements; as well as design practices that highlight different motivations of the designer. In addition to the two main projects that focus on different methods of approaching design? where students will be producing high-level prototypes, this workshop-style class consists of one-day projects and exercises designed to introduce techniques and skills such as technical drawing and sketching, form-finding, prototyping, and inspiration research, among others. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1260	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1406A
Redefining Edges: Zero Waste in Fashion	2020 (001)	Saumitra Shrikant Chandratreya	Wed 9:00 AM - 3:00 PM In Person
Description This course explores an unconventional view of garment construction and design by framing the process through the parameter of zero waste. Patterns are created using techniques designed to mitigate or eliminate waste. Both traditional and nontraditional materials are used, as well as digital printing technology. All final projects are fitted on a model in both muslin and fabric. Prerequisites FASH 1010 Pre-req	Class Number 1387	Credits 3	Department Fashion Design Area of Study Sustainable Design Location Sullivan Center 706
Designed Objects Studio One	2020 (002)	Ben Stagl	Thurs 9:00 AM - 3:00 PM In Person
Description As the beginning course in the Designed Objects department, students will have an opportunity to explore different methods of working in order to begin establishing a practice that works best for them. Students will be building a strong foundation of skills and techniques needed to navigate an informed design process and successfully complete a design brief. In this hands-on class, students will learn how to find inspiration for an idea, develop that idea into a concept, and use that concept to design and fabricate a high-level, final prototype. Basic research theories and methods are introduced which are then applied towards studio projects. Fabrication and prototyping techniques are also incorporated in order to test out ideas and discover new ones. Students advance through definition, research, ideation, sketching, and modeling phases toward two? and three?dimensional representations (digital and physical) of their work that are orally defended during group critique. Readings and lecture content will vary and will focus on examples of historically relevant and contemporary designers, artists, studios, and design movements; as well as design practices that highlight different motivations of the designer. In addition to the two main projects that focus on different methods of approaching design? where students will be producing high-level prototypes, this workshop-style class consists of one-day projects and exercises designed to introduce techniques and skills such as technical drawing and sketching, form-finding, prototyping, and inspiration research, among others. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1271	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1255
Designed Objects Studio Two	2030 (001)	James TerMeer	Thurs 9:00 AM - 3:00 PM In Person
Description We will work with the processes by which product designers develop compelling objects that communicate ideas, values, functions and purpose. Projects are designed to study the language of form through an analysis of user interaction, the implications of material choice, finishes, and craftsmanship on the success of a product concept, and how these choices support and promote function, desirability and perceived value. There is also an emphasis on expanding student material exploration and making techniques for optimal results, and the value of iterative prototyping in a successful design process. The course will address universal product design issues and methods, starting with defining and understanding the project, considering form and function, appropriate material selection, construction techniques, finishes, iteration, and well-crafted final products. We will cover concepts such as semiotics, ergonomics, families of objects, multi-functional products, and emphasize clear communication of finished design ideas through schematics, and graphic representation using descriptive photography. Relevant contemporary design examples are provided as reference for each project, and students will spend additional time researching contemporary designers such as Front Design, Raw Edges, Nendo and Ron Arad. Students will be introduced to high-end professional design sources in a business setting through a field trip to the Merchandise Mart. The course is built around 3 main projects, each with instructional presentations, Design research assignments, ideation and sketching, group discussions, and iterative prototyping, resulting in the creation of a final product and printed graphic document, all presented and discussed in a group critique. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template. Prerequisites Pre Req: DES OB 2020	Class Number 1261	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1230
Figure Drawing: Multi-Level	2030 (001)	Ruth Poor	Mon 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1586	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 124
Figure Drawing: Multi-Level	2030 (002)	Don Southard	Tues 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1587	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 315
Figure Drawing: Multi-Level	2030 (003)	Sheridan Gustin	Tues 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1588	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 320
Figure Drawing: Multi-Level	2030 (004)		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 1589	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 124
Figure Drawing: Multi-Level	2030 (005)	Larissa Setareh Borteh	Wed 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1590	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 315
Figure Drawing: Multi-Level	2030 (006)	George Liebert	Thurs 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1591	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 124
Figure Drawing: Multi-Level	2030 (007)	Dylan Rabe	Thurs 9:00 AM - 3:00 PM In Person
Description Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.	Class Number 1592	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 320
Figure Drawing: Multi-Level	2030 (008)	Amanda Joy Calobrisi	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 1593	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 124
Figure Drawing: Multi-Level	2030 (009)	Daniel Lloyd-Miller	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 1594	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 315
Figure Drawing: Multi-Level	2030 (010)	MJ Lounsberry	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 1595	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 315
Figure Drawing: Large Format	2030 (011)	MaryLou Zelazny	Mon 9:00 AM - 3:00 PM In Person
Description Are you curious about creating figure drawings life size or larger? This multi-level studio will introduce you to the exciting challenge of drawing the human form from observation on large supports while learning about drawing techniques spanning the pre-modern era into the present day. Students working with figurative subjects will be able to experiment with scale changes on 3? x 6? paper. Students who want to work even larger are encouraged. Formal points of departure are presented clearly through daily morning lectures and demonstrations, using a full array of examples from art history, contemporary art as well as frequent museum visits. The class exercises begin with quick monochromatic sketches and progress to full color extended studies. There is one final project assignment. The majority of the required work is completed during class time. The large format allows students of all abilities to make significant improvements quickly.	Class Number 1663	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 315
Fig Draw:Anatomy	2030 (012)	Melinda Whitmore	Wed 9:00 AM - 3:00 PM In Person
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 1664	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 124
Fig Draw:Adv:Anatomical Ecorche	2031 (001)	Melinda Whitmore	Tues 9:00 AM - 3:00 PM In Person
Description Ecorche (ay-kor-shay) is a French word meanining 'flayed' or 'skinned', but to figurative artists it also refers to any representation of the figure that describes what lies under the skin. In this course, we will be exploring anatomy through the production of a three-dimensional ecorche - where students will use additive and subtractive sculptural practices to create a 1/3 life-sized sculpture representing half skeletal structure and half musculature form. Lectures and materials will focus on specific areas of the body. Prerequisites Prerequisite: PTDW 2030.	Class Number 1634	Credits 3	Department Painting and Drawing Location 280 Building Rm 124
Fig Draw:Adv:Body & Language	2031 (002)	Karen Azarnia	Fri 9:00 AM - 3:00 PM In Person
Description We speak through our bodies, and learn to read other's even before we use words. The figure runs through every culture's art. Even when we work purely abstractly, the figure lurks at the edges and dictates nearly every reference point. This studio aims to teach students how the body communicates, and facilitate its effective use in their work. Primarily a studio course, we will use images from art history, contemporary art, graphic novels, films and photography, as well as written material, as jumping-off points for long drawings in a variety of media. We will also go on a series of field trips to discuss how to read body language, and discuss its evolution through animal communication to the nuances of human interchange. This is an advanced studio. Prerequisites Prerequisite: PTDW 2030.	Class Number 1635	Credits 3	Department Painting and Drawing Location 280 Building Rm 124
Sustainability Studio	2035 (001)	Peter J Zerillo	Tues 3:30 PM - 6:15 PM In Person
Description This course provides an introduction to sustainable design, covering topics such as raw materials, energy, food, water, global and local production, global supply chain, green chemistry, and circular economies. Students will learn about the three pillars of sustainability and the fundamental concepts and principles of sustainability. The course will cover the importance of renewable resources and closed-loop systems to reduce waste in sustainable design. Students will explore renewable energy sources and energy-efficient technologies. The importance of food and water in sustainable design, global and local production systems, the precautionary principle, and the ethical sourcing of materials will also be covered. The course will examine green chemistry as a means of reducing the environmental impact of chemical processes. Finally, students will learn about circular economies and the importance of designing products and processes that promote the reuse and recycling of materials. By the end of the course, students will be able to apply their knowledge of sustainable design principles and practices to their projects in and out of school. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1275	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design, Sustainable Design Location Sullivan Center 1241
Top: Clay and Culture	2035 (001)	Emily Schroeder Willis	Tues 9:00 AM - 3:00 PM In Person
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
Top:Getting Weird & Hilarious	2035 (002)	William John O'Brien	Wed 9:00 AM - 3:00 PM In Person
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
Tapestry	2037 (001)		Mon/Wed 6:45 PM - 9:15 PM In Person
Description The class will examine the many possibilities of creating woven forms using a tapestry loom (also called a frame loom). Students will begin by experimenting with the basic techniques of tapestry and plain weave as they explore ways of creating surface, image, texture and various color effects within a woven form. Students will then learn more complex tapestry weaving techniques. A variety of tapestry looms will be considered, including possibilities for constructing looms of varying dimensions and sizes. Contemporary weaving projects, along with historical references, will be presented through discussions, visual presentations, demonstrations, readings, and close-up examinations of woven textiles. This course is open to all levels. Tapestry works by contemporary artists such as Diedrick Brackens, kg, Erin M. Riley, Terri Friedman, Aiko Tezuka, Josh Faught, Julia Bland, Sarah Zapata, and Erasto ?Tito? Mendoza will be shown, together with seminal works by artists whose tapestry works spurred the emergence of the field of fiber in the 1950s through early 1970s: Trude Guermonprez, Anni Albers, Lenore Tawney, Olgs de Amaral, Tadeusz Beutlich, and Magdalena Abakanowicz. Contemporary frame loom weaving will be contextualized through visual presentations and readings exploring relevant histories of weaving across the Americas, Asia, Africa, Europe, and the Middle East, together with examples of present day weaving workshops and institutions like the Museo Textil de Oaxaca (Mexico), the Centro de Textiles Tradicionales del Cusco (Peru),the Manufacture Nationale des Tapisseries Senegal (Senegal), and Sadu House (Kuwait). Course work will vary but typically includes the creation of woven samples, 3 or 4 finished works, reading responses, and short research assignments and/or presentations.	Class Number 2139	Credits 3	Department Fiber and Material Studies Area of Study Digital Communication, Community & Social Engagement, Gender and Sexuality Location Sharp 1005
Wksp:Scenecraft	2040 (001)	Richard O'Reilly	Wed 6:45 PM - 9:30 PM In Person
Description Scenecraft: The Art of Hearing Voices Any prose benefits from sharpening the tools most often associated with playwriting: monologue, dialogue, and silence. Whether the example is the compelling presence of the monologue in the radio work of NPR's Ira Glass and David Sedaris, the sharp stylized dialogue in the films of Mike Leigh, the comic outrageousness and vulgarity of Sarah Silverman, the naturalistic street smart sweep of David Simon's The Wire, or the wry poignant humor in the stories of Lorrie Moore, modern prose leans heavily on theatrical lessons of how people speak to each other and to themselves. The class will include looking at these examples as a bridge to generative writing. Using gossip, dreams, photographs, listening to voices reading aloud, writing in the room, and working collaboratively, interdisciplinary experiments will be undertaken to create different modes of dialogue and monologue. Working with actors and performing, the class will make writing that steps off the page and into the mouths of real and imagined people. This workshop welcomes makers from performance, sound, design, or any other forms.	Class Number 1835	Credits 3	Department Writing Location Lakeview - 808
Studio Drawing:Fail Better	2040 (001)	Erin Washington	Mon 9:00 AM - 3:00 PM In Person
Description Studio Drawing: Fail Better is an exploration of time-based and ephemeral strategies as they relate to elements of drawing. Much like Baldessari's disowning of his early work, students will be encouraged to let go of practiced methods, using destruction as a form of creation. Doubt will be embraced, experimentation encouraged, and risk considered a viable game-plan. Employing strategies such as collage, archives, and documentation, we will explore how to rebuild your portfolio after you?ve let it go. Rebuilding strategies will range from accumulative, time-based methods such as the work of William Kentridge to the chaotic secretions of Dieter Roth. There will be studio problems and exercises, sketchbook assignments, and slide presentations with a focus on individual projects.	Class Number 1596	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Theory Seminar	2040 (001)	Dawit L. Petros	Thurs 12:15 PM - 3:00 PM In Person
Description This 3 hour reading and discussion class is designed to familiarize students with historical and contemporary philosophy, critical analysis, and contemporary thought relevant to photography and the visual culture. The course's aim is to prepare students for a higher level of discourse in anticipation of either graduate school or life as an artist in the greater realm of the ?art world.? Discussions of contemporary work in this atmosphere are aimed at making clear the connection between theory, research and an artist's practice. Students are expected to do critical readings (generally one essay per week), complete short, informal writing assignments, participate in class discussion, and to engage in theoretical research as part of their own practice. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1540	Credits 3	Department Photography Area of Study Theory Location 280 Building Rm 215
Wksp:Monsters and Ghosts	2040 (002)	Matthew Goulish	Wed 8:30 AM - 11:15 AM In Person
Description To understand the human, study the monster. To understand the living, study the ghost. This class examines monsters as warnings or omens regarding the future, and ghosts as repetitions of past events. Through various approaches to creative writing, we examine categories of monster, including the living animated from the non-living (the Golem of Prague), creatures that combine parts of recognizable animals (the Minotaur), and differing conceptions of time that ghosts manifest. We draw non-human case studies from Greek mythology, Gothic literature, and contemporary neurological and cybernetic anxieties. Readings may include Ovid?s Metamorphosis, Goblin Market by Christina Rossetti, The Beggarwoman of Locarno by Heinrich von Kleist, Frankenstein by Mary Shelley, The Turn of the Screw and The Jolly Corner by Henry James, A Werewolf Problem in Central Europe by Victor Pelevin, and A Haunted House by Virginia Woolf. Students present their own writing in the form of creative responses to the lectures and the course readings.	Class Number 1842	Credits 3	Department Writing Location Lakeview - 803
Studio Drawing: Multi-Level	2040 (002)	Emily Nicole Murray, Su Kaiden Cho	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 1597	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Studio Drawing: Multi-Level	2040 (002)	Emily Nicole Murray, Su Kaiden Cho	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 1597	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Studio Drawing: Multi-Level	2040 (003)	Sabrina Zhao, Jenny Halpern	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 1598	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (003)	Sabrina Zhao, Jenny Halpern	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 1598	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Stu Dwg: Collage	2040 (004)	MaryLou Zelazny	Tues 9:00 AM - 3:00 PM In Person
Description This multi-level studio will cover all of the various traditional methods of assembling cut paper into a complete work of art. Additionally, we will touch upon the use of unorthodox materials for 2D assemblage and bas-relief. The class will review historic and contemporary approaches, using them as an inspiration for projects. Individual as well as group instruction will provide a flexible educational environment, accommodating both the novice and accomplished collagist. Examples from the rich history of collage will be shown, as well as field trips to related exhibitions.	Class Number 1599	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Std Draw:Representn/Abstractn	2040 (005)	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 1600	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (006)	Kaylee Rae Wyant	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 1601	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Studio Drawing: Multi-Level	2040 (007)	Michelle Alexander	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 1602	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Dwg:Mixed Media Paper	2040 (008)	Ryan Peter	Wed 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?	Class Number 1603	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Studio Drawing: Multi-Level	2040 (009)	David R. Harper	Wed 9:00 AM - 3:00 PM In Person
Description This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.	Class Number 1604	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (010)	Paula Kamps	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 1605	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 315
Studio Drawing: Multi-Level	2040 (011)	Brianna Perry	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 1606	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (012)	Matt Morris	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 1649	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Studio Drawing: Multi-Level	2040 (013)	Jonas Müller-Ahlheim	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 1650	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Studio Drawing: Multi-Level	2040 (014)	Noah Rorem	Fri 9:00 AM - 3:00 PM In Person
Description This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image. Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work.	Class Number 1651	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 125
Std Draw:Large Format	2040 (015)	Israel Aten	Fri 9:00 AM - 3:00 PM In Person
Description How big is big? Does the size of a drawing alter our ideas of what we?re about while we?re producing it? How do relationships of internal scale alter our sense of the surrounding space, and how do the sizes of the materials and the support alter our own awareness of scale? In this course we will explore the potential for large format drawing in the perceptual, material, narrative and conceptual senses. We will work towards expanding notions of Large, Format, Studio and Drawing. We will work towards specificity and developing each student's individual concerns. Bring your ambition, you'll need it. Most time in class will be spent working on studio projects, which will be supplemented by museum visits, slide lectures, student led reading discussions and presentations, and in depth critique. Readings and artists looked at will vary, but will typically include texts which attempt a broad overview of the state of drawing within the field of contemporary art like Vitamin D2 and Drawing Now: Eight Propositions, and include contemporary artists working with drawing at ambitious scale such as Toba Khedoori, Amy Sillman, and William Kentridge, and more historical examples like Willem de Kooning, Cy Twombly, Lee Krasner, and Jasper Johns. There will be a long form mid-term critique and a shorter final critique. Students will be expected to complete multiple large scale works for each.	Class Number 1652	Credits 3	Department Painting and Drawing Area of Study Illustration Location 280 Building Rm 321
Type and Image in Motion	2041 (001)		Sat 9:30 AM - 12:15 PM All Online
Description 2041 - Type + Image in Motion is a studio based introduction to the design of motion graphics. We will examine the methodologies, theories, visual and auditory principles, technical issues of motion design with an emphasis on the interplay of movement, time, imagery, typography and sound within the digital environment. The course focuses on the role motion plays in creating expressive and communicative experiences. Students will critically analyze and create a range of motion studies, and investigate the visual grammar and creative strategies of the time-based communication and motion graphics utilizing storyboarding and two-dimensional animation, Readings, screenings and discussions will provide students with a historical overview of motion design and time-based media. We will examine the work of various influential motion designers both past and present. Readings and lectures cover the theoretical foundations of the field, and assignments provide hands-on, project-based experience with production. Weekly in-class tutorials will be provided by the instructor and the student will be required to develop a working knowledge of software appropriate to concepts of time-based media. Students should expect to develop comprehensive storyboards and produce three short digital videos. The completed motion design studies and visual investigations will be presented in group and individual critiques during the course of the semester. Prerequisites Prerequisite: VISCOM 1002 or VISCOM 2941.	Class Number 1792	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Digital Imaging, Animation Location Online
Std Draw:Adv Form Invention	2041 (001)	Richard Hull	Thurs 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. Prerequisites Prerequisite: PTDW 2040.	Class Number 2084	Credits 3	Department Painting and Drawing Location 280 Building Rm 125
Advanced Motion Graphics	2042 (001)		Mon 9:00 AM - 3:00 PM In Person
Description Using a variety of media, this course builds on the animation skills learned in Computer as a Motion Graphics Tool. Combining text, graphics, photographs, video and sound, the class will explore traditional and alternative narratives, collage techniques, time manipulation, and film, television as well as web-influenced rhythms and compositions. While refining surface and experimenting with structure, the class will create expressive, political and communicative time-based sequences. Prerequisites Prerequisite: VISCOM 2041.	Class Number 1828	Credits 3	Department Visual Communication Design Location Sharp 1108
French II	2050 (001)	Elizabeth Chalier-Visuvalingam	Tues 3:30 PM - 6:15 PM In Person
Description This course is part two of a two-semester sequence. Its goal is to provide students without any knowledge of the French language a solid foundation in the basic patterns of written and spoken French and an understanding of the particular sociocultural norms necessary for everyday communication in France. These are achieved in several ways: (1) a careful study of French grammar, with a communicative approach, (2) a study of the basics of French phonetics, and (3) a variety of materials such as readings, movies, commercials, etc. French II is the sequel of French I. Prerequisite: French I or agreement of instructor. Prerequisites Prerequisite: LANGUAGE 2005.	Class Number 1493	Credits 3	Department Liberal Arts Location Lakeview - 206
Virtual Flat to Form - Digital Patternmaking	2060 (001)	Aubrie J. Meyer	Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This course introduces students to digital pattern-making for fashion. Students learn to use the CAD hardware and software, designing and modifying patterns virtually. This includes digitizing/converting hard patterns to digital files, modifying existing stock patterns, textile printing, 3-D visualization, and plotting sample patterns. Students receive a hands-on approach to developing virtual patterns through fabric testing, using body measurements, and assembling prototypes for final design approval. Other industry skills are developed, such as creating pattern cards, cutter's musts, grading, and marker making. Prerequisites FASH 2001/2014/2016/2020/2022/2024/2901	Class Number 1367	Credits 3	Department Fashion Design Area of Study Digital Imaging, Gender and Sexuality, Art and Science Location Sullivan Center 705, MacLean 917
Pattern Making for Sculpture	2074 (001)	Daniel Gordon Baird	Thurs 3:30 PM - 9:15 PM In Person
Description Patternmaking is at the heart of metalworking, woodworking, fashion, architecture and many other disciplines. Why? Because so many materials are available in sheet form. Students in this course will investigate a range of processes by which flat sheet materials like paper, wood, metal, fabric, vinyl, and plastic can be used to make volumetric, three-dimensional forms. Patternmaking for Sculpture will teach the student digital and analogue methods of designing, cutting, and assembling 3D work. Practical strategies as well as contemporary industrial use and the history of patternmaking will be explored to give each student a range of options for making their own work, whether it be art or design.	Class Number 1714	Credits 3	Department Sculpture Area of Study Product Design Location 280 Building Rm 127
Chinese II	2080 (001)	Junming Han	Thurs 6:45 PM - 9:30 PM In Person
Description Chinese II is designed for students who take Chinese as a foreign language and have passed the Chinese I course. For the students who have not taken the Chinese I course at SAIC, an evaluation test is required and students must gain the instructor's approval in writing to enroll in this course. Students who speak Chinese as their native language are not allowed to attend this course. Students will continue to learn the Lessons 6-10 of <> (Level 1 Part 1) to expand vocabulary words and key grammatical structures. The course will aim to expose students to more Chinese culture, help them with Chinese oral presentations and writing about school life, study, shopping, and transportation. Prerequisites Prerequisite: LANGUAGE 2008.	Class Number 1497	Credits 3	Department Liberal Arts Location MacLean 501
New Media: Crash Course	2100 (001)	Christopher Lee Collins	Mon 9:00 AM - 3:00 PM In Person
Description This introductory studio course focuses on screen-based new media works, their historical contexts, their specific aesthetics and theoretical concerns. Students gain an understanding of the emerging culture and historical antecedents of new media. Interactive, network and web based technologies are introduced from the perspective of media art making. Students will be exposed to relevant theoretical texts. Historical and contemporary new media works are screened, demonstrated and discussed. Through a series of workshops, assignments and a final project, students will gain a general understanding of how to read and write new media using various techniques such as HTML ++ CSS, JavaScript, Realtime systems, Generative systems, and Art Games. Prerequisites Prerequisite: FVNM 2000	Class Number 1417	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication, Social Media and the Web Location MacLean 807
Art and Technology Practices	2101 (001)	Dan Miller, Garrett Johnson	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This team-taught, introductory course provides a foundation for most additional coursework in the Art and Technology Studies department. Students are given a broad interdisciplinary grounding in the skills, concepts, and hands-on experiences they will need to engage the potentials of new technologies in art making. Every other week, a lecture and discussion group exposes students to concepts of electronic media, perception, inter-media composition, emerging venues, and other issues important to artists working with technologically based media. Students will attend a morning & afternoon section each day to gain hands-on experience with a variety of forms and techniques central to technologically-based art making.	Class Number 1107	Credits 3	Department Art & Technology / Sound Practices Area of Study Game Design, Art and Science Location MacLean 401, MacLean B1-07
Art and Technology Practices	2101 (001)	Dan Miller, Garrett Johnson	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This team-taught, introductory course provides a foundation for most additional coursework in the Art and Technology Studies department. Students are given a broad interdisciplinary grounding in the skills, concepts, and hands-on experiences they will need to engage the potentials of new technologies in art making. Every other week, a lecture and discussion group exposes students to concepts of electronic media, perception, inter-media composition, emerging venues, and other issues important to artists working with technologically based media. Students will attend a morning & afternoon section each day to gain hands-on experience with a variety of forms and techniques central to technologically-based art making.	Class Number 1107	Credits 3	Department Art & Technology / Sound Practices Area of Study Game Design, Art and Science Location MacLean 401, MacLean B1-07
Why Ancient Art and Architecture Matter	2113 (001)	Joana Konova	Thurs 8:30 AM - 11:15 AM In Person
Description Ancient art and architecture often provides the backdrop for National politics and in many countries is the art which one first encounters outside of a museum. This course will introduce students to ancient art and architecture in a way that highlights its modern importance in terms of cultural heritage and the art making practices of modern artists. Readings will address the contemporary relevance of ancient art, the particularities of that artwork, and the way that ancient artwork and the modern art it inspires are a manifestation of cultural values both past and present. Students will be required to present readings to other students on a biweekly basis, take exams based on the artwork presented in lectures, and complete a research project. The research project involves the study of one repatriated artwork's provenience and provenance and the presentation of that research to the class Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1056	Credits 3	Department Art History, Theory, and Criticism Location MacLean 608
Foundry Basics	2113 (001)		Tues 9:00 AM - 3:00 PM In Person
Description This course introduces the aesthetic, technical, and historical aspects of the casting process as it relates to sculpture. Students learn basic skills in waxworking, investment applications, furnace and kiln operation, metal finishing and chasing, and patination. Lost wax and ceramic shell will be the primary techniques utilized for pattern generation and molding in this course. Students develop these skills through a series of studies that culminate in a final project.	Class Number 1701	Credits 3	Department Sculpture Location 280 Building Rm 030
Furniture 1: Chair Studio	2118 (001)	Erik Newman	Wed 9:00 AM - 3:00 PM In Person
Description This furniture studio will critically engage the chair as an archetype. Chairs have long been a fascination of designers as they require a developed understanding of structure, material, and form. Importantly, chairs represent the cultural mores of the time in which they are produced and are inextricably linked to larger systems of power, technology, and economy. This course will explore the chair as a fluid, dynamic furniture category that is in a reciprocal relationship with culture, technology, and politics and will emphasize a hands-on approach to design and production. Readings from art and design historians and critics including Galen Cranz, David Getsy, Richard Sennett, Glenn Adamson, and Alice Rawsthorn will be integral to an expansive conversation about the chair. Class readings and discussions will also help contextualize different approaches to construction and fabrication at different scales of production. A wide range of both contemporary and historical design precedents will be explored ranging from traditional Shaker Furniture to Wendell Castle, Faye Toogood, Max Lamb, Egg Collective, Jasper Morrison, and Scott Burton. By the end of this course, students should expect to have completed technical drawings and a series of detailed scale models. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1266	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design, Furniture Design Location Sullivan Center 1242
Digital Modeling: Rhino	2124 (001)	James TerMeer	Mon/Wed 6:45 PM - 9:15 PM In Person
Description This course is designed to be a fast-paced first step into the field of 3D CAD modeling, an arena where designers give shape to our daily experience of the world. If this is your first exposure to virtual 3D form development, you will find a flexible interface that facilitates a rapid learning curve from simple to complex. For those with prior CAD experience desiring a more intuitive, less restrictive creative experience, this course will provide the means to turn what you see in your mind and your sketches into exciting visual and precise physically accurate representations of your vision. Throughout the semester we will discuss historical and current events in product, fashion and architectural design. Typically, these shared conversations lead to discoveries that participants dig into and apply to assignments. A list of influential artists, designers and architects is provided along with suggested books and online references that enrich and add diversity and range to our discourse. Initially, the class works through a series of exercises and tutorials designed to bring familiarity and confidence to their experience with Rhino. Students will investigate methods for surfacing, modifying, rendering, and presenting ideas and concepts they create. As each tool and process becomes more familiar, new methods and strategies are introduced, and students are taught how to apply them to create accurate representative models of objects they design. In addition to gaining hands-on skills, we will explore form creation and the physical, cognitive, emotional, social, and cultural factors that play into the development of a successful new product.	Class Number 1262	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Digital Communication, Product Design Location Sullivan Center 1226
Digital Modeling: Solidworks	2126 (001)	Angie Lullie	Tues 3:30 PM - 9:15 PM In Person
Description This course introduces students to SolidWorks, a powerful parametric software package used by product designers to model, indicate specifications, and visualize their design intent. Students will learn the software in the context of design by using it as a tool to develop form and scale, convey design intent with 3D renders, create specification drawings for manufacturing, and interface with 3d printers, CNC machines, and laser cutters for quick iterative prototyping. This course will focus on a series of tutorials followed by hands-on design projects that will provide intensive training in 3D modeling, 3D printing, and photo-realistic 3D rendering.This will allow the students to make judgements on which 3D tools to use at what stage to develop the most efficient models. The tools will be explained through examples and demonstrations, which will allow the students to practice the tools during class. Students are expected to complete 4 projects. The projects will include learning 2D sketch tools and creating relations through existing logos, modeling existing products with multiple components, developing an original design based on an existing brand or artist, and collaborating within a group on a system of objects.	Class Number 1265	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1226
History of Designed Objects	2128 (001)	Lara Allison	Fri 12:15 PM - 3:00 PM In Person
Description The course examines the history of designed objects and their place in a variety of material contexts. Even within our increasingly digitalized existences today, physical objects continue to play a key role in determining our experiences as humans. Our objects are designed by us and at the same time design us by extending the possibilities of what it means to be human and exist in a world. The designed object will be considered under the conditions of global exchange, in relation to questions of health, disease, and the body, as well as urbanism. We will also reflect on the designed object through the lenses of craftsmanship, technology, materials, activism, identity, and cultural heritage. Course participants will read texts relevant to the theoretical and historical aspects of the designed object and its representations, contribute to weekly discussions, conduct object-based analyses, and engage in a series of team and individually written critical writing assignments. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1032	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
The Artist as Stylist?: Fashion Signifiers in Art	2143 (001)	Caroline Marie Bellios	Wed 12:15 PM - 3:00 PM In Person
Description If you could only be seen in one outfit for the rest of your life ? what would it be? How would you represent who you are through your choice of silhouette, color, pattern, and texture? In this course we will take a look at art?s ability to freeze moments, and garments, in time. What did the sitter (or the artist) chose to clothe the body? How did fashion and its power of communication function within the time the art work was made? What choices did the artist make to idealize or change their representation of the garments? In statues from Ancient Greece fabrics flow around bodies like liquids, 18th century subjects were often painted in swathes of fabric meant to suggest ancient ideals through similar (impossible) textiles, and today Kara Walker uses those same floating fabrics on bodies to critique less than ideal idealists. To 19th century Impressionists the urgency of Modernity could only be represented by using contemporary garments, today Kehinde Wiley dresses a man on a horse in a hoodie. What clues tell us a figure is a warrior or a captive in work of the Nazca from ancient Peru? How can we read hairstyles in Ukiyo-e paintings from 17th century Japan? What do Jeffery Gibson and Nick Cave want us to see when they create coverings for bodies? And what was Amy Sherald trying to tell us about Michelle Obama? We will utilize the collections of the Art Institute, The Field Museum, and others around the city to look closely, sketch, and research. Students will read, lead discussions, write daily reflections, explore through making, and develop skills in critical looking leading to two short research papers examining works of their choice. In statues from Ancient Greece fabrics flow around bodies like liquids, 18th century subjects were often painted in swathes of fabric meant to suggest ancient ideals through similar (impossible) textiles, and today Kara Walker uses those same floating fabrics on bodies to critique less than ideal idealists. To 19th century Impressionists the urgency of Modernity could only be represented by using contemporary garments, today Kehinde Wiley dresses a man on a horse in a hoodie. What clues tell us a figure is a king in Incan pottery? How can we read hairstyles in Ukiyo-e paintings from Japan? What do Jeffery Gibson and Nick Cave want us to see when they create coverings for bodies? And what was Amy Sherald trying to tell us about Michelle Obama? We will visit the collections of the Art Institute, The Field Museum, and other collections around the city to look closely, sketch, and research. Students will read, lead discussions, write daily reflections, and develop skills in critical looking leading to two short research papers examining works of their choice. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1092	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Costume Design, Museum Studies Location Lakeview - 1608
Beautiful Books: Architectural Prints, Drawings, and Paintings	2146 (001)	Shiben Banerji	Thurs 8:30 AM - 11:15 AM In Person
Description This seminar examines inter-related practices of bookmaking, drawing, painting, and printmaking from Mexico-Tenochtitlan, Renaissance Venice, Safavid Isfahan, Mughal Delhi, Ottoman Jerusalem, colonial Ireland, Baroque Rome, Qing Wutaishan, and Tokugawa Edo. We scrutinize octavos, folios, codices, and albums. We look at how graphite, ink, watercolor, and engraving tools were used to embellish images, and alter the boundaries separating prints, drawings, and paintings. Writing assignments emphasize close looking, close reading, and careful revision. Class discussions focus on representations of architecture, paying particular attention to innovations in visual form and their cultural and political meanings. Students are expected to write and revise short essays responding to texts and images produced by architects. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2238	Credits 3	Department Art History, Theory, and Criticism Area of Study Books and Publishing Location MacLean 112
Animation I: Drawing for Animation	2420 (001)	James Trainor	Tues 9:00 AM - 3:00 PM In Person
Description This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.	Class Number 1418	Credits 3	Department Film, Video, New Media, and Animation Area of Study Illustration, Animation Location MacLean 717
Animation I: Drawing for Animation	2420 (002)	Sara Payne	Wed 9:00 AM - 3:00 PM In Person
Description This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.	Class Number 1419	Credits 3	Department Film, Video, New Media, and Animation Area of Study Illustration, Animation Location MacLean 717
Animation I: Drawing for Animation	2420 (003)	James Trainor	Fri 9:00 AM - 3:00 PM In Person
Description This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.	Class Number 1445	Credits 3	Department Film, Video, New Media, and Animation Area of Study Illustration, Animation Location MacLean 717
Modern and Contemporary Korean Art	2468 (001)	Yeonsoo Chee	Tues 3:30 PM - 6:15 PM In Person
Description This course introduces 20th and 21st century Korean through major themes, including the introduction of Western art, the unique formation of Korean Modernism, the Avant-garde art movement, people?s art, feminist art, and the globalization of the Korean art scene. We also address Korean artists working internationally and major thematic Korean art exhibitions held in America. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1072	Credits 3	Department Art History, Theory, and Criticism Location MacLean 707
Media Art Histories and Genealogies	2513 (001)	James Connolly	Thurs 12:15 PM - 3:00 PM In Person
Description An introduction presents an overview of the academic field known as Media Art Histories as well as the specific genealogies of relevant academic disciplines (i.e. of Film Art, Video Art, New Media Art & both filmic and digital Experimental Animation) as well as genealogies of specific media technologies (i.e. cameras, computers and software; electric lights, radio and sound; chemical, magnetic, and digital forms of storage and the industrial and capitalized structures that they require). These interwoven histories of shared theory/practices are investigated in relationship to independent/experimental/art media in contemporary cultures by asking: How do artists develop methods to work with, against, and around these techno-social forms? Readings will include Kittler, Zelenski, Grau, Gunning, Gaudreault, Musser, Schivelbusch, Auge, Adorno, Kluge, and Krackauer. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1087	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location MacLean 1307
Film Genre: The Horror Film	2586 (001)	Ashley R. Smith	Mon 12:15 PM - 3:00 PM In Person
Description These classes examine film genres such as (but not limited to) The Western, Film Noir, Science Fiction, Horror, Romance, and Screwball Comedy. Each course illuminates the defining characteristics of the particular genre by establishing its narrative conventions, its influences in literature, art and other film genres. These courses discuss the conventions of the genre's visual style and its relationship to popular culture and social upheaval. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2187	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1608
Gore Capitalism: Contemporary Cinema and Crisis	2588 (001)	Daniel Ricardo Quiles	Thurs 3:30 PM - 6:15 PM In Person
Description 'Gore Capitalism' takes its title from Sayak Valencia's recent book on narcotrafficking and 'necropolitics': contemporary governments' paradoxical disregard for the lives of their own citizens. Using global contemporary cinema, we will examine troublingly consistent dynamics of repression and crisis around the world: Black marginalization and death in the United States; racist ecofascism in Brazil; the African migration crisis; neo-genocide of indigenous populations; and many others. Following Valencia's link between necropolitics and the horror genre, selected films have a genre bent toward horror, ghost stories and other modes of mysticism that serve to represent traumatic realities. But they also periodically shift into realism, as in Jasmila Zbanic's Quo Vadis, Aida?, about the Bosnian War. In the end, history becomes a key category that contemporary films are exploring-- to better contextualize today's crises and excavate strategies and solutions from the past. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1090	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location MacLean 1307
Shadows of War	2588 (002)	Nora Annesley Taylor	Tues 6:00 PM - 9:00 PM In Person
Description Please see topic description for more information. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2195	Credits 3	Department Art History, Theory, and Criticism Area of Study Theory Location Gene Siskel Film Center 203
History of Film Animation	2598 (001)	James Trainor	Wed 12:15 PM - 3:00 PM In Person
Description This course covers the history of animated film, from its pre-cinematic beginnings to the beginning of the television era (ca. 1960). It traces the development of the Hollywood studio cartoon, along with parallel developments in European and Japanese animation and experimental and abstract works. Special emphasis is given to the evolution of formal animation techniques and their role in the shaping of the animation aesthetic. Much attention is given to the groundbreaking work of Disney, the Fleischer studio, and the cartoons of Tex Avery and Chuck Jones. European animators are represented by Lotte Reiniger, Oskar Fischinger, and other experimenters. All films are screened chronologically, with a mix of short works and a handful of features. There are weekly readings on the history of animation; a ten-page paper; and a final multiple-choice exam. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1036	Credits 3	Department Art History, Theory, and Criticism Location MacLean 1307
History Of Performance	2610 (001)	Chris Reeves	Wed 6:45 PM - 9:30 PM In Person
Description This course surveys performance as art throughout the Modern and Postmodern periods?including contemporary and non-Western incarnations?and covers roughly the last one hundred fifty years. Areas of historical and theoretical focus include the philosophy of performance, ethnography, feminism, and the interface of performance with film, video, dance, sculpture, theater, technology, and popular culture. Movements like Futurism, Dada, and Fluxus are explored alongside themes like endurance, performance in everyday life, the culture wars and censorship, performance and AIDS, and postcolonial uses of performance. Key figures such as Carolee Schneemann and Marina Abramovic are analyzed through comparison of documentaries about their work. Any number of seminal performance pieces are screened, including ones by Yoko Ono, Linda Montano, Diamanda Galas, Guillermo Gomez-Pe?a & Coco Fusco, and Anna Deavere Smith. Further historical context comes from essays and movies about AIDS activism and Punk & New Wave. Readings include primary sources, artist interviews, C. Carr's reviews, and noted works in Performance Studies from Richard Schechner, Peggy Phelan, Amelia Jones, and others. Students will attend two performances and write reviews, an annotated bibliography assignment provides opportunity to explore historical and non-western performance topics, and there will be much discussion. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1053	Credits 3	Department Art History, Theory, and Criticism Area of Study Gender and Sexuality Location Lakeview - 203
20th Century Photography	2622 (001)	Alice Maggie Hazard	Wed 12:15 PM - 3:00 PM In Person
Description In 1839 a new means of visual representation was announced to a startled world: photography. Although the medium was immediately and enthusiastically embraced by the public at large, photographers spent decades experimenting with techniques and debating the representational nature of this new invention. This course focuses on the more recent history of this revolutionary medium. From the technological advancements that characterized the rise of photography in the commercial world during the 20th century, and the acknowledgement of photography as an artistic medium in its own right, to the digital revolution and its social media applications, we will consider the technological, economic, political, and artistic histories of photography through selected works of art and seminal critical texts. This course considers photography in a global context. We focus on seminal texts and images in order to explore ethical, commercial, artistic, and political issues that make photography essentially important to our contemporary visual culture. The course explores broad range of photographic practices, techniques, and approaches including the work of Hannah Hoch, Martha Rosler, Hiroshi Sugimoto, Dawoud Bey, Gordon Parks, Nan Goldin, Cindy Sherman, William Eggleston, Shirin Neshat, Wolfgang Tillmans and many more. We regularly visit the collections of AIC and MCoP to enrich our class discussions with private print viewings and exhibition critiques. Students are expected to share an image of their choice in response to the assigned weekly reading. These images are used in class discussion. There also is a final paper, a final presentation, and an in-class test. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1083	Credits 3	Department Art History, Theory, and Criticism Location MacLean 920
Introduction to Video Art	2670 (001)	Jason Nebergall	Tues 8:30 AM - 11:15 AM In Person
Description This course is designed to provide a comprehensive introduction to the history of video art from its emergence in the late 1960s through our present moment. Students will examine key works and the major historical, cultural, and aesthetic influences on the form. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1079	Credits 3	Department Art History, Theory, and Criticism Area of Study Digital Communication Location MacLean 707
History of Modern Graphic Design	2730 (001)	Michael Golec	Thurs 8:30 AM - 11:15 AM In Person
Description This general survey of graphic design between the 19th and 20th centuries maps the relationships between graphic design and various commercial and cultural institutions under the broad category of the modern. Students study the issues and problems that faced designers, their clients, and their audiences, in the negotiation of commercial and social changes. Through lectures, readings, discussions, and museum visits, the course examines the cultural, social, economic, political, industrial, and technological forces that have influenced the history of graphic design. Course work includes object analysis assignments, research paper, and mid-term and final exams. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1065	Credits 3	Department Art History, Theory, and Criticism Area of Study Graphic Design Location MacLean 920
Art Crit:Write for Mag/News	2751 (001)	Margaret Hawkins	Fri 3:30 PM - 6:15 PM In Person
Description Using the works of established critics and writers as models and using the museum and Chicago galleries as subject matter, students learn to write concise reviews and essays. Class time is spent discussing art, assigned readings, and students? writing. Students are required to turn in one short written work at the beginning of each class. The goal of the course is to develop students? powers of observation, clarity of language and ability to form and defend opinions about works of art. Readings include Kimmelman, Berger, Schjeldahl, Hickey, Lippard, Barnet, Fried, Wolfe. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1054	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 202
Textiles & Globalism: the Early Modern World	2803 (001)	Nancy Feldman	Fri 3:30 PM - 6:15 PM In Person
Description This class explores a worldwide view of textiles in the historic period of Middle Ages and the Renaissance when new trade routes connected Europe, Asia, Africa and Oceania, and the Americas. Topics focused on the global transfer of goods and information include exploration, exploitation, colonization, mapping, urban growth, and industrial production. We also look at textile's role in contemporary globalization and new economic theories for the developing world, such as reflected by Practec in Peru, and discussed in books such as The Spirit of Regeneration. This course includes field trips. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2363	Credits 3	Department Art History, Theory, and Criticism Location MacLean 301
Sophomore Seminar: Interdisciplinary	2900 (001)	Aaron Neal	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2071	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1255
Integral Fashion Studio	2900 (001)	Kristin Mariani, Agnes Hamerlik	Mon/Wed, Mon/Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description The Integral Fashion Design Studio is an immersive 6-credit, co-taught class that builds up the skills and talents required to achieve creative fashion. Taken in the spring, it integrates construction and applied design research. Students will create one look consisting of a top and skirt that express a concept through garment. Students will also hone their ability to articulate concepts and speak to their work. Students discover how to express conceptual design through garment-making methodologies by combining their design research, shape development, and creative explorations. The garments are fitted on models, and executed in both muslin and fabric. Pre-req: FASH2001, FASH2002 Prerequisites Student must be a sophomore and have completed FASH 2001 & FASH 2002	Class Number 1382	Credits 6	Department Fashion Design Location Sullivan Center 702, Sullivan Center 703
Integral Fashion Studio	2900 (001)	Kristin Mariani, Agnes Hamerlik	Mon/Wed, Mon/Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description The Integral Fashion Design Studio is an immersive 6-credit, co-taught class that builds up the skills and talents required to achieve creative fashion. Taken in the spring, it integrates construction and applied design research. Students will create one look consisting of a top and skirt that express a concept through garment. Students will also hone their ability to articulate concepts and speak to their work. Students discover how to express conceptual design through garment-making methodologies by combining their design research, shape development, and creative explorations. The garments are fitted on models, and executed in both muslin and fabric. Pre-req: FASH2001, FASH2002 Prerequisites Student must be a sophomore and have completed FASH 2001 & FASH 2002	Class Number 1382	Credits 6	Department Fashion Design Location Sullivan Center 702, Sullivan Center 703
Writing Art History	2900 (001)	Margaret MacNamidhe	Mon 12:15 PM - 3:00 PM In Person
Description The main aim of this intensive course is to learn how to write art history by doing it. Each student will write an original research paper investigating a single, particularly compelling object of her choosing in scaffolded stages over the course of the entire semester, while drawing on a range of library and museum resources and responding to constructive criticism from the teacher and from peers. The course guides students to pose generative questions of their objects, to find and analyze sources, and to make persuasive arguments. We will also at times study the study of art, examining the history of the museum as a framework for such study, and reflecting on as well as using some key analytical moves often used by art historians. We will not only study statements by scholars reflecting on their own methods, but also exemplars of analysis, which we will in turn take apart to figure out how to do such analysis ourselves. While this course is required for the BA in Art History and BFA with Art History Thesis, any undergraduate who wants to write art history is warmly welcome. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 1074	Credits 3	Department Art History, Theory, and Criticism Location Lakeview - 1427
Sophomore Seminar: Interdisciplinary	2900 (002)	Lukasz Kowalczyk	Thurs 6:45 PM - 9:30 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2072	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1240
Integral Fashion Studio	2900 (002)	Kylee Marisa Alexander, Jasper Alan Drummond	Mon/Wed, Mon/Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description The Integral Fashion Design Studio is an immersive 6-credit, co-taught class that builds up the skills and talents required to achieve creative fashion. Taken in the spring, it integrates construction and applied design research. Students will create one look consisting of a top and skirt that express a concept through garment. Students will also hone their ability to articulate concepts and speak to their work. Students discover how to express conceptual design through garment-making methodologies by combining their design research, shape development, and creative explorations. The garments are fitted on models, and executed in both muslin and fabric. Pre-req: FASH2001, FASH2002 Prerequisites Student must be a sophomore and have completed FASH 2001 & FASH 2002	Class Number 1383	Credits 6	Department Fashion Design Location Sullivan Center 704, Sullivan Center 705
Integral Fashion Studio	2900 (002)	Kylee Marisa Alexander, Jasper Alan Drummond	Mon/Wed, Mon/Wed 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description The Integral Fashion Design Studio is an immersive 6-credit, co-taught class that builds up the skills and talents required to achieve creative fashion. Taken in the spring, it integrates construction and applied design research. Students will create one look consisting of a top and skirt that express a concept through garment. Students will also hone their ability to articulate concepts and speak to their work. Students discover how to express conceptual design through garment-making methodologies by combining their design research, shape development, and creative explorations. The garments are fitted on models, and executed in both muslin and fabric. Pre-req: FASH2001, FASH2002 Prerequisites Student must be a sophomore and have completed FASH 2001 & FASH 2002	Class Number 1383	Credits 6	Department Fashion Design Location Sullivan Center 704, Sullivan Center 705
Sophomore Seminar: Interdisciplinary	2900 (003)	Anjulie Rao	Tues 6:45 PM - 9:30 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2073	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1240
Sophomore Seminar: Interdisciplinary	2900 (006)	Lavie Raven	Tues 12:15 PM - 3:00 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2067	Credits 3	Department Art Education Location Sharp 402
Sophomore Seminar: Interdisciplinary	2900 (016)	Lee Blalock	Wed 12:15 PM - 3:00 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2112	Credits 3	Department Art & Technology / Sound Practices Location MacLean 414
Clay as Chameleon	2900 (021)	Emily Schroeder Willis	Thurs 12:15 PM - 3:00 PM In Person
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
Storytelling for Designed Objects	2900 (026)	Cassandra Scanlon	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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2081	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Location Sullivan Center 1407
Sophomore Seminar: Interdisciplinary	2900 (031)	Annie Marie Novotny	Tues 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2058	Credits 3	Department Fashion Design Location MacLean 501
Sophomore Seminar: Interdisciplinary	2900 (032)	Bambi Deidre Breakstone	Thurs 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2059	Credits 3	Department Fashion Design Location MacLean 501
Craft and Object in Contemporary Art	2900 (036)	Stacia Laura Yeapanis	Wed 12:15 PM - 3:00 PM In Person
Description The word 'craft' has been used both as a badge of honor and as a dismissive slur. This seminar will explore the stereotypes, the history and the changing status of craft in relation to contemporary art in America. We will read essays by craft theorists and makers including Marie Lo, M. Anna Fariello, Bruce Metcalf, L.J. Roberts and Namita Gupta Wiggers and watch the PBS Docuseries 'Craft in America' to help us triangulate an ever-shifting definition of craft. Students will bring previously-critiqued, in-process and revised work to 3 critiques, where an emphasis will be placed not just on WHAT objects mean but also HOW they mean. Course work includes weekly free-writing, reading discussions, and several assignments designed to help students articulate their artistic concerns and contextualize their work. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2141	Credits 3	Department Fiber and Material Studies Location Lakeview - 206
The Digital Dark Age	2900 (041)	Eric Fleischauer	Thurs 12:15 PM - 3:00 PM In Person
Description as we continue to digitize our world, the chorus of techno-optimists singing technology¿s praises is louder than ever. but...are our expansive networks and digital tools truly enlightening us? or are they in fact working to obscure, impede, and deny us the very things they are said to provide? this seminar will confront the dark cloud looming over our digital domains. we will examine how advances in information technology have generated a growing set of unintended consequences that hinder our view of the world, and diminish our agency within it. we will reflect on various topics including technology and power, complex uncertainty, perpetual surveillance, archival viability, and eroding empathy. selected readings, screenings, assignments, and critiques will map out lines of inquiry for students to consider and apply to their research + studio practices. a significant amount of class time will be spent in critique + conversation offering students feedback and mentorship throughout the semester. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2078	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 517
Environmental Extractions: Art, Place, and Voice	2900 (042)	Mikey Peterson	Wed 8:30 AM - 11:15 AM In Person
Description How do environments influence art, and how can we extract imagery, sound and ideas from these places to create work and develop our artistic voices? Through location exploration, image/sound/object collection, experimentation, research and writing we can discover connections between ourselves, our environment, and the artmaking that will shape our creative practices. What are the concerns that drive one?s creative practice? How does one set the terms for its future development? Sophomore Seminar offers interdisciplinary strategies for the evaluation and communication of students? individual practice as artists, designers, and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. Works by video artists, visual artists, and filmmakers are also viewed and discussed. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2079	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 518
Sophomore Seminar: Interdisciplinary	2900 (046)	Allie n Steve Mullen	Tues 6:45 PM - 9:30 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2148	Credits 3	Department Undergraduate Studies Location MacLean 111
Sophomore Seminar: Interdisciplinary	2900 (047)	Kitty Rauth	Mon 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2149	Credits 3	Department Undergraduate Studies Location Lakeview - 1428
Sophomore Seminar: Interdisciplinary	2900 (048)	Sherry Antonini	Wed 12:15 PM - 3:00 PM All Online
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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2150	Credits 3	Department Undergraduate Studies Location Online
Sophomore Seminar: Interdisciplinary	2900 (049)	Joseph David Belknap	Tues 12:15 PM - 3:00 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2151	Credits 3	Department Undergraduate Studies Location Lakeview - 1428
Sophomore Seminar: Interdisciplinary	2900 (050)	Sarah Jean Belknap	Tues 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2152	Credits 3	Department Undergraduate Studies Location MacLean 617
BODY POSITIVE	2900 (051)	Anna Martine Whitehead	Mon 12:15 PM - 3:00 PM In Person
Description What does one¿s emergent creative practice have to do with one¿s body in the world? How do we maintain the resilience and vulnerability required of artists and art students when we already feel so vulnerable in our everyday lives? How, as audiences and community members, do we share and receive feedback generously while still honoring our own lived experiences? This course 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. While the focus of this course will be on both embodied practices and the politics of having a body, it is open to all disciplines and areas of study. Through studio assignments, readings, viewings, and writing projects, students will generate a clearer understanding about how and why they make art, and how to continue making their work authentically. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2052	Credits 3	Department Performance Location 280 Building Rm 012A
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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2127	Credits 3	Department Photography Location 280 Building Rm 106
Sophomore Seminar: Interdisciplinary	2900 (061)	Jasper Goodrich	Wed 12:15 PM - 3:00 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2123	Credits 3	Department Printmedia Location 280 Building Rm 203
Sophomore Seminar: Interdisciplinary (Fall)	2900 (066)	Leah Ke Yi Zheng	Wed 8:30 AM - 11:15 AM In Person
Description This fall section of Sophomore Seminar is for second-semester Sophomores. Students must have 39 credits or more to enroll in this course. What are the concerns that drive one¿s creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2086	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
Brainspace to Studiospace	2900 (067)	Danny Bredar	Thurs 8:30 AM - 11:15 AM In Person
Description This Sophomore Seminar explores how artists and designers organize, prioritize, develop, and build their ideas into works in real life. Special emphasis will be put on designing projects, evaluating them, methods of critique, and idea generation. Readings and lectures will focus on different individual artists who reimagined their practices in surprising ways including Qiu Zhijie?s ?Total Art?, Mierle Laderman Ukeles? ?Maintenance Art? and Lee Lozano?s ?Drop Out Piece?. Important texts include Printed Matter?s collection of artist essays ?The Social Medium: Artists Writing, 2000-2015? and Catherine Wagley?s essay ?The Conversation: Female Artist as Art Historian? from X-Tra magazine. Students will learn to evaluate their past experiences with art and communicate about their individual practices as artists, designers, and scholars. Students will build an aspirational plan for their future at SAIC and beyond. With the goal of students will learn about how and why they make art, assignments will ask them to track their influences and reflect on what they think is valuable in culture. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2087	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
Repertoire	2900 (068)	Rachel Niffenegger	Thurs 6:45 PM - 9:30 PM In Person
Description This Sophomore Seminar section, Repertoire, is relevant to studio artists working across all media who are questioning and developing how meaning and material intersect in their work. We will focus on inventorying the entire stock of techniques and concepts explored in our work at SAIC until this point. Through critique and discussion we will iterate within our established repertoires with our sights set on developing studio practices that allow for both focus and innovation. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2088	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
Sophomore Seminar: Interdisciplinary (Fall)	2900 (069)	Alex Cohen	Mon 8:30 AM - 11:15 AM In Person
Description This fall section of Sophomore Seminar is for second-semester Sophomores. Students must have 39 credits or more to enroll in this course. What are the concerns that drive one¿s creative practice? How does one set the terms for its future development? Sophomore Seminar offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. Students will examine historical and contemporary influences and contextualize their work in relation to the diverse art-worlds of the 21st Century. Readings, screenings, and field trips will vary each semester. Presentations by visiting artists and guest speakers will provide the opportunity for students to hear unique perspectives on sustaining a creative practice. One-on-one meetings with faculty will provide students with individualized mentorship throughout the semester. During interdisciplinary critiques, students will explore a variety of formats and tools to analyze work and provide peer feedback. The class mid-term project asks students to imagine a plan for their creative life and devise a self-directed course of study for their time at school. The course concludes with an assignment asking students to develop and document a project or body of work demonstrating how the interplay of ideas, technical skills, and formal concerns evolve through iteration, experimentation and revision. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2089	Credits 3	Department Painting and Drawing Location 280 Building Rm 120
Sophomore Seminar: Interdisciplinary	2900 (071)	Nyeema Morgan	Wed 12:15 PM - 3:00 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2100	Credits 3	Department Sculpture Location 280 Building Rm 032
Hybrid Practices	2900 (081)	Joshua Rios	Tues 3:30 PM - 6:15 PM In Person
Description Hybrid Practices seeks to bring artistic experimentation and research-based scholarship together. In general, Visual and Critical Studies promotes academic and artistic hybridity as a way to examine the social forces that shape our lives. Many fields will be engaged, including queer and feminist theory, literature, social identity, postcolonial studies, art history, and philosophy. The goal is to support student practices by exposing them to various critical conversations related to politics (social life) and art (general creativity). This course prioritizes artists historically marginalized because of their social identities, including gender, race, ethnicity, able-bodiedness, sexual orientation, and more. Some artist, writers, and thinkers to be considered include, Black Audio Film Collective, Glenn Ligon, #decolonizethisplace, Sky Hopinka, Park McArthur, Sunaura Taylor, Michel Foucault, Super Futures Haunt Qollective, and Judith Butler. Screenings will include a variety of videos related to contemporary art and critical theory, including ¿Martha Rosler Reads Vogue: Wishing, Dreaming, Winning, Spending,¿ Forensic Architecture¿s 'Rebel Architecture: The Architecture of Violence,' Coco Fusco¿s ¿TED Ethology: Primate Visions of the Human Mind,¿ Paper Tiger TV¿s ¿Donna Haraway Reads the National Geographic on Primates,¿ and Democracy Now¿s ¿Freed but Not Free: Artists at the Venice Biennale Respond to the #BlackLivesMatter Movement.¿ Coursework includes a reading schedule, research-supported discussions, moments of creative presentation/critique, and writing assignments that engage hybrid approaches to culture, history, and theory. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2209	Credits 3	Department Visual and Critical Studies Location MacLean 112
Design Strategies	2900 (086)		Wed 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2146	Credits 3	Department Visual Communication Design Location Sharp 1116
Design Strategies	2900 (087)		Wed 12:15 PM - 3:00 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2147	Credits 3	Department Visual Communication Design Location Sharp 1116
First Person First	2900 (091)	Anne Calcagno	Wed 12:15 PM - 3:00 PM In Person
Description All writing begins with a writer. The writer alone, the writer entering a history of writers, the writer-child, the writer-citizen. Maya Angelou wrote: ¿A bird doesn't sing because it has an answer. It sings because it has a song.¿ In short it has an ¿I Am.¿ To own up to first person is not to claim supremacy and hierarchy, but to recognize life as a source, a fountain, an ecology. From which, through your senses, those receptors of attention, you enter in vibrant conversation. This is not a course in autobiography but you will explore your body, origins, processes, senses, dreams, Muses ¿ in an iterative fashion. Readings include poetry, fiction and nonfiction. Some artists we'll read are: Lynda Barry, Rita Dove, Stuart Dybek, Miranda July, Layli Long Soldier, Marc Richard, ZZ Packer, Leslie Jamison and David Whyte. They are our point of departure for analyzing techniques to create vibrant sensory images, shift from microscope to satellite narrative views, and enlarge our individual presence to include the Body Politic. Studio exercises will ask you to pull the world near to taste-test it, with synergy, inspiration, and playfulness. The Sophomore Seminar's Keystone Assignments are: DIY Future Project & Documentation of Practice. Your creative writing project 'This I Write' will receive an all-class workshop, for you to follow up with a re-vision. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2065	Credits 3	Department Writing Location Lakeview - 803
Sophomore Seminar: Interdisciplinary	2900 (111)	C. C. Ann Chen	Wed 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2156	Credits 3	Department Undergraduate Studies Location MacLean 111
Sophomore Seminar: Interdisciplinary	2900 (112)	Max Guy	Tues 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2157	Credits 3	Department Undergraduate Studies Location Lakeview - 1427
Sophomore Seminar: Interdisciplinary	2900 (113)	Markus Dohner	Fri 12:15 PM - 3:00 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2158	Credits 3	Department Undergraduate Studies Location MacLean 111
Sophomore Seminar: Interdisciplinary	2900 (114)	Ayanah Moor	Tues 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2159	Credits 3	Department Undergraduate Studies Location Lakeview - 203
Sophomore Seminar: Interdisciplinary	2900 (115)	Nancy Sanchez Tamayo	Wed 6:45 PM - 9:30 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2160	Credits 3	Department Undergraduate Studies Location MacLean 501
Sophomore Seminar: Interdisciplinary	2900 (116)	Aram Han Sifuentes	Fri 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2161	Credits 3	Department Undergraduate Studies Location MacLean 111
Sophomore Seminar: Interdisciplinary	2900 (117)	Kaylee Rae Wyant	Wed 12:15 PM - 3:00 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2162	Credits 3	Department Undergraduate Studies Location Lakeview - 1428
Sophomore Seminar: Interdisciplinary	2900 (118)	Jill M. Lanza	Wed 12:15 PM - 3:00 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2163	Credits 3	Department Undergraduate Studies Location 280 Building Rm 120
Sophomore Seminar: Interdisciplinary	2900 (119)		Fri 8:30 AM - 11:15 AM 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2164	Credits 3	Department Undergraduate Studies Location MacLean 112
Sophomore Seminar: Interdisciplinary	2900 (120)	Isabel Garcia-Gonzales	Fri 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. Prerequisites Prerequisite: Must be a sophomore to enroll.	Class Number 2165	Credits 3	Department Undergraduate Studies Location MacLean 111
Intermediate Graphic Design	3001 (001)	Donald Pollack	Mon 9:00 AM - 3:00 PM In Person
Description Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1794	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1116
Offset Productions	3001 (001)	Conor Stechschulte	Wed 9:00 AM - 3:00 PM In Person
Description This class introduces students to the concepts and production of distributable artists¿ projects. Working closely with faculty, students develop projects to be printed on the Heidelberg offset press and Risograph machines. Multiples such as prints, books, zines, posters, stickers, cards, and packaging are examples of potential projects that utilize these high-volume printing processes. Image creation methods include digital, photo, collage, and hand-drawing. Adobe Creative Suite and a variety of binding and packaging techniques will be demonstrated. Through hands-on examples, readings, and visits to special collections, such as the Joan Flasch Artist Book Collection, a wide range of printed work and distributable projects will be shared and discussed. Over the semester, students can expect to complete a number of multi-color offset and risograph projects and participate in two critiques.	Class Number 1547	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 220
Global Research Studio	3001 (001)	Monika Niwelinska	Wed 6:45 PM - 9:30 PM In Person
Description Transnational Temporalities: Interdisciplinary Research and Practice is a required course for international and AICAD exchange students who are new to SAIC, but have already completed a substantial amount of advanced level or independent coursework. Students enrolled in this class will use utilize both traditional and experimental research methodologies, access the many archives and resources available at SAIC and across Chicago, and participate in a vigorous studio-based critical dialogue about their studio work with a global awareness. The course will encourage students to make connections between this class and their respective areas of studio interest or specialization ¿ through recognition of global identities (otherness and representation, deconstructing difference, decolonization), global contextualization, global art history and it's asymmetries, as well as subject driven themes in global contemporary art: place, time, memory, materiality, body, identity, language, science, among others. To make engaging art requires the artist to recognize the cultural context of their time, to think critically in regards to that context, and to make art or design works in response. The more an artist or designer seeks to problematize and add greater complexity to what interests them, the more polyvocal their practice will become. Examples of artists and designers to be addressed in this course include: Richard Tufte, Shirin Neshat, Hito Steyerl, Zhang Huan, Mark Lombardi, Tehching Hsieh, Christian Boltanski, Kara Walker, Song Dong, Cai Guo-Qiang, Brian Jungen, Nick Cave, Doris Salcedo, Anish Kapoor, Olafur Eliasson, LaToya Ruby Frazier, Marina Abramovic, Ai Weiwei, Andy Goldsworthy, Roni Horn, Sophie Ristelhueber, Kehinde Wiley, Jeff Wall, James Turell, Lorna Simpson, Tonika Lewis Johnson, Alfredo Jaar, Dawit Petros,, Danh Vo, Guerilla Girls, Tonika Lewis Johnson (The Folded Map Project) and Lucy Orta. The course structure will provide three tiers of interaction, student to instructor, student to student, and student to content. The class relies on weekly assignment-based projects, peer-to-peer feedback, and self-paced visual material. Historical and contemporary readings and screenings provide a conceptual framework for the course work, which will include weekly reading & screening responses supporting live and online discussions (through Canvas), short visual exercises, a research presentation on a specific artist, and a final project.	Class Number 1492	Credits 3	Department Undergraduate Studies Area of Study Art/Design and Politics Location Lakeview - 202
Painting Studio A: Multi-Level	3001 (001)	Noah Rorem	Mon 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1609	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Top:Reading Media	3001 (001)	Peter L Haratonik	Thurs 8:30 AM - 11:15 AM In Person
Description This course is an investigation of how media communicate messages and how we interpret them. From political propaganda to advertisements, television news to ?tweets?, we examine a process of critically 'reading' the many messages that we encounter on a daily basis. Through readings, class discussions, presentations and writing assignments we come to grips with what critic Stuart Ewen has called a world of 'all consuming images.' Readings include works by Plato, Marshall McLuhan, Neil Postman, Susan Sontag, Stuart and Elizabeth Ewen, and Henry Jenkins. Assignments include short critical essays on contemporary media, an in-depth at home exam based on class activity and readings, and a term paper or media presentation that analyses a current critical issue in media. Prerequisites Prerequisite: First Year English requirement.	Class Number 1765	Credits 3	Department Visual and Critical Studies Location Lakeview - 202
Intermediate Graphic Design	3001 (002)		Tues 9:00 AM - 3:00 PM In Person
Description Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1793	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1116
Offset Productions	3001 (002)	Tom Denlinger	Fri 9:00 AM - 3:00 PM In Person
Description This class introduces students to the concepts and production of distributable artists¿ projects. Working closely with faculty, students develop projects to be printed on the Heidelberg offset press and Risograph machines. Multiples such as prints, books, zines, posters, stickers, cards, and packaging are examples of potential projects that utilize these high-volume printing processes. Image creation methods include digital, photo, collage, and hand-drawing. Adobe Creative Suite and a variety of binding and packaging techniques will be demonstrated. Through hands-on examples, readings, and visits to special collections, such as the Joan Flasch Artist Book Collection, a wide range of printed work and distributable projects will be shared and discussed. Over the semester, students can expect to complete a number of multi-color offset and risograph projects and participate in two critiques.	Class Number 1558	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 220
Painting Studio A: Multi-Level	3001 (002)	Sam Jaffe	Mon 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1610	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Top:Wandering Uterus	3001 (002)	Terri Kapsalis	Thurs 12:15 PM - 3:00 PM In Person
Description This interdisciplinary course approaches the topic of gender, race, and medicine from cultural, historical, and scientific perspectives. We consider hysteria (purported to be caused by a 'wandering uterus') and other mental afflictions associated with sex, gender and race, the foundation of U.S. gynecology and its dependence on enslaved bodies, the Feminist Health Movement and its legacy, queer and trans health issues, and sexual health education. Readings include works by Audre Lourde, Charlotte Perkins Gilman, Mia Mingus, Alice Dreger, and Elaine Showalter. We will also consider the ways in which artists have addressed issues of gender, race and medicine in their work. Assignments include an interview project, written reflections, and a final research-based project. Prerequisites Prerequisite: First Year English requirement.	Class Number 1766	Credits 3	Department Visual and Critical Studies Location MacLean 608
Painting Studio A: Multi-Level	3001 (003)	Jessica Jackson Hutchins	Tues 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1611	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Top:Theorizing Disability	3001 (003)	Joseph Grigely	Wed 12:15 PM - 3:00 PM In Person
Description This course is an experimental seminar devoted to recent discussions about disability in the US and in Europe: how is disability represented, and how are these representations constructed? Readings include the following, among many other texts: Georgina Kleege's Sight Unseen, Julia Kristeva's recent essays on disability, and several Supreme Court Opinions regarding ADA, including Alabama v. Garrett, Toyota v. Williams, and Tennessee v. Lane. In the second half of the semester, seminar participants present papers and related research on disability as a social and theoretical construction. Prerequisites Prerequisite: First Year English requirement.	Class Number 1773	Credits 3	Department Visual and Critical Studies Location MacLean 707
Intermediate Graphic Design	3001 (003)		Thurs 9:00 AM - 3:00 PM In Person
Description Experiments in visual communication challenge the student to further refine visual thinking and integrate basic studies through applied problems. The importance of flexibility of approach is stressed at this level. Through experimentation, the problem is defined and organized; imagery and message are manipulated; awareness of potential solutions is increased. A student's portfolio must be pre-approved by the visual communication department for enrollment in this course. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1808	Credits 3	Department Visual Communication Design Area of Study Graphic Design Location Sharp 1214
Painting Studio A: Multi-Level	3001 (004)	Anne Harris	Tues 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1612	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Top: Marxism, Art, and Culture	3001 (004)	Zachary Tavlin	Fri 12:15 PM - 3:00 PM In Person
Description These courses draw on the instructor's particular expertise and are pertinent to an understanding of the social influences on and consequences of the production and dissemination of visual images. Topics vary depending on the individual instructor. See topic description for further information. Prerequisites Prerequisite: First Year English requirement.	Class Number 1774	Credits 3	Department Visual and Critical Studies Location MacLean 517
Painting Studio A: Multi-Level	3001 (005)	Steven Husby	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1613	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Top: Chance and Intentionality	3001 (005)	Patrick Durgin	Tues 8:30 AM - 11:15 AM In Person
Description If a society?s order of reasons disempowers its citizens, why not weaponize the irrational? This was the premise of various, systemic reactions against the ?ego? in the midlate 20th century. In Europe, the United States, and former colonies, some of this activity can be read as an extension of the historical avant garde?s investigation of altered states of consciousness and ?madness.? The neo-avant garde sometimes used the tools of rational science to deconstruct its premises, reconstruct the real, and promote a more demotic culture. This course takes an international approach and samples practices and discourses of Dadaism, Surrealism, free jazz, performance and conceptual art, dance, film, ?relational aesthetics,? and experimental poetics. We will place a special emphasis on the way indeterminacy claims to ameliorate conflicts between political commitment and aesthetic quality. Prerequisites Prerequisite: First Year English requirement.	Class Number 2210	Credits 3	Department Visual and Critical Studies Location MacLean 301
Painting Studio A: Multi-Level	3001 (006)	Andrew Falkowski	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1614	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Painting Studio A: Multi-Level	3001 (007)	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1615	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Painting Studio A: Multi-Level	3001 (008)	Steven Husby	Thurs 3:30 PM - 9:15 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1616	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Painting Studio A: Multi-Level	3001 (009)	Susan Kraut	Thurs 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1617	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Painting Studio A: Multi-Level	3001 (010)	Noah Rorem	Thurs 3:30 PM - 9:15 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1618	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Painting Studio A: Multi-Level	3001 (011)	Paul Heyer	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. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1619	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
Painting Studio A: Multi-Level	3001 (012)	Josh Dihle	Fri 9:00 AM - 3:00 PM In Person
Description This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1658	Credits 3	Department Painting and Drawing Location 280 Building Rm 305
Large-Format Camera	3002 (001)	Robert Clarke-Davis	Wed 9:00 AM - 3:00 PM In Person
Description Large Format Photography introduces students to the ideas and aesthetics associated with a large-format view camera. Students will learn pre-visualization, camera movements, perspective control, large-format optics, and how to handle large format sheet film. Assignments focus on portraiture, landscape, studio, and architecture. Students are encouraged to develop a personal style via flexible assignments. Technical skills acquired include view camera setup and control, experience with sheet film, the zone system, large format scanning, and analog and digital printing. All enrolled students are assigned a 4x5 studio camera and will have access to an 8x10 and 4x5 field cameras, along with a variety of optics and accessories. A variety of technical readings from multiple sources will help students understand perspective control, camera setup, lens choice, bellows extension, available film choices, exposure, and reciprocity compensation associated with large format photography. Additional readings and screenings will provide examples of historical and contemporary work created utilizing large format photography, and highlight the cameras meditative qualities and excellent resolution and control. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1518	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 207
Advanced Woven Structures: Hand and Digital	3002 (001)	Kira Dominguez Hultgren	Wed 9:00 AM - 3:00 PM In Person
Description This intensive studio course will focus on weaving and its relation to the evolving landscapes of contemporary art, cultural production, and identity. Working with multi-harness floor looms, students will engage rigorous conceptual questions in abstraction, figuration, sculptural form, spatial intervention, performative action, technology, and language to develop a mature body of woven work. Vocabulary will be expanded through the study of complex woven constructions, digital drafting, and dye processes. Feminist, queer, and decolonial approaches to weaving will be introduced and encouraged. Designed for advanced students, this course engenders an interdisciplinary weaving practice by blurring the boundaries between fiber, critical craft, painting, material culture, sculpture, textile history, architecture, and technology studies. Students will consider the history and the future of the field through a varying roster of artists including significant figures such as Sheila Hicks, Lenore Tawney, Magdalena Abakanowicz, and Olga de Amaral alongside contemporary generations such as Sonya Clark, Miguel Arzabe, Diedrick Brackens, Erin M. Riley, Josh Faught, Samantha Bittman, and Cecilia Vicuña. This work will be supported by texts that typically include Anni Albers, Legacy Russel, T'ai Smith, Julia Bryan-Wilson, and César Paternosto. Critical discussion of core texts and individualized research will occur in tandem with weekly studio activity. Students will produce a series of studies and 2 - 4 fully realized woven works that will be developed through in-process discussions and presented in major critique settings. Prerequisites Open to Juniors/Seniors & Grad Students	Class Number 2405	Credits 3	Department Fiber and Material Studies Location To Be Announced
Survey of Literature II: Unsettling American Lit	3002 (002)	Jane Robbins Mize	Tues 3:30 PM - 6:15 PM In Person
Description This course will introduce students to modern and contemporary literature by thinking through and against the canon. We will read across genres and traditions while discussing how culture, identity, and power relations impact the production and reception of literature in twentieth- and twenty-first-century America. Through readings such as Nella Larsen¿s Passing (1929) and N. Scott Momaday¿s House Made of Dawn (1968), we will analyze texts that unsettle hegemonic aesthetics and amplify marginalized voices. As such, students can expect to develop as critical thinkers, close readers, writers, and researchers. Prerequisites Prerequisite: First Year English requirement.	Class Number 2277	Credits 3	Department Liberal Arts Location MacLean 111
Ptg Std B:Pictorial Structures	3002 (003)	Richard Hull	Fri 9:00 AM - 3:00 PM In Person
Description In this class we will go to the galleries in the museum every week, looking at and talking about how paintings are made, focusing on the underlining pictorial structure: the way artist in the past created a pictorial tension that still give the paintings presence today despite what might seem to us as anachronistic subjects. We will spend the majority of the time in the studio working and hopefully applying what we learn in the museum to your paintings. There is no stylistic agenda for this class: It's not what it is; it's what it does. Prerequisites Prerequisite: PTDW 3001, 3003 or 3030	Class Number 1672	Credits 3	Department Painting and Drawing Location 280 Building Rm 318
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 1647	Credits 3	Department Painting and Drawing Area of Study Community & Social Engagement, Illustration, Animation Location Online
Video Everywhere	3003 (001)	Mikey Peterson	Mon 9:00 AM - 3:00 PM In Person
Description This course introduces video as a medium for artistic expression and social inquiry. Students gain an understanding of the video image-making process and develop proficiency with video equipment, including portable and studio production and editing systems. Strategies for the use of video as an art-making tool are explored. Works by video artists are viewed and discussed. Prerequisites FVNM 2000 or FVNM 5020	Class Number 1430	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication, Social Media and the Web Location MacLean 518
Digital Audio Production	3003 (001)	Allie n Steve Mullen	Wed 9:00 AM - 3:00 PM In Person
Description This course is offered for those students interested in developing skills in the creation and application of digital audio. Using Apple's Logic software, students interested in exploring sound or music are introduced to audio manipulation techniques that allow them to create soundtracks, to record and produce songs or dance tracks, realize abstract sound pieces or manipulate sound for installations. Techniques of sound manipulation are introduced, including audio recording and editing, looping, and sound destruction. MIDI, drum programming, the use of software synthesis and basic music and composition techniques are addressed according to the needs of individual students. The class is structured to encourage the interaction of students with a wide range of technical ability in audio from beginners to advanced artists in the early stages of a professional practice.	Class Number 2270	Credits 3	Department Art & Technology / Sound Practices Location MacLean 431
Intermediate Individual Projects	3004 (001)	Sonja Ruth Thomsen	Wed 9:00 AM - 3:00 PM In Person
Description Every idea has a medium most suited to its execution, but often not the one in which the artist is working. This class considers new ways of translating ideas into other media to develop a sense of possibilities beyond the straight photograph. Conceptual art has given us an understanding of the triggers that might provoke an investigation of layers of meaning within the simplest of ideas. Assignment encourage students to think beyond the usual way they work and include the use of collaboration, installation, audio, video, live feed, the internet, performance, and performative uses of photography. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1531	Credits 3	Department Photography Location 280 Building Rm 216
Top: Photo Matter	3005 (001)	Aimee Beaubien	Tues 9:00 AM - 3:00 PM In Person
Description Photographic information permeates our daily lives. PHOTO MATTER explores the materiality of photographic image-making by delving into the realms of appropriation, montage, and collage to strategies interwoven with the sculptural and installation. Through a dynamic combination of creative exploration and critical inquiry, students will craft a compelling body of work in their chosen form that resonates with their line of inquiry. Our course activities will revolve around the cultivation of individual artistic production, embrace the tangible nature of photographs while analyzing the works of influential artists, and noteworthy exhibitions. As artists and creators, we will experiment with innovative approaches to presentation methods, venturing into alternative spaces and exhibition making. By seamlessly fusing research, materials and techniques, we will create surface tensions and expand the capacities of photographic meanings. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1523	Credits 3	Department Photography Location 280 Building Rm 215
Advanced Stitch	3005 (001)	Melissa Leandro	Fri 9:00 AM - 3:00 PM In Person
Description In Advanced Stitch- Students pursue a strong personal direction while continuing to develop a technical vocabulary and conceptual concerns. Moving across hand stitching and embroidery to using free motion sewing machines, the long arm quilting machines and digital embroidery machines, the class explores themes of gesture, line, speed, slowness, process, and materiality, with an emphasis on surface manipulation and scale. Group critiques encourage individual goals and develop an ongoing dialogue about contemporary issues. Field trips, group discussions, visual presentations, and readings will augment this studio-focused course. Course work will vary but typically includes critique projects, samples, and reading responses. Prerequisites FIBER 2005 or Sophomore Level	Class Number 1395	Credits 3	Department Fiber and Material Studies Location Sharp 1014
Advanced Shape and Theory in Garments	3005 (001)	Benjamin Larose	Fri 9:00 AM - 3:00 PM In Person
Description This advanced level course examines the transformation of form and identity with the body. Particular emphasis will be placed on challenging the literal definition of garment through various processes such as draping, deconstruction and reuse. Students will explore scale and materials from hard to soft, flexible and rigid. Projects using found objects and alternative resources will also be introduced. Through various assignments, students will be encouraged to expand outside the common solution, using unfamiliar territories, placing them in new context. Several projects are assigned involving individual and group critiques with development of personal direction related to contemporary issues. Parallel development in sculptural practices and design will also be examined to see the emerging context of garment as art. Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1372	Credits 3	Department Fashion Design Location Sullivan Center 703
Digital Music: Concepts, Structures, Materials	3005 (001)	William Harper	Thurs 9:00 AM - 3:00 PM In Person
Description This course introduces students to the fundamental materials of music composition, the structures used to shape these materials, and techniques and strategies students can use to create fully formed pieces of music. Referencing traditional and experimental practices from many cultures and histories, we examine the basic musical elements of rhythm, meter, tonal organization, harmony, and timbre. These are applied in a digital studio environment via sampling, sound synthesis, looping, and live recording using Apple's Logic digital audio workstation. Musical works by artists from diverse backgrounds and identities are analyzed to understand how these materials and concepts are used to sculpt emotional expressions, narrative forms, abstract constructions, or conceptual statements. Students work with these references, elements, and materials to make their own work in genres of their own choice. No style of music is off limits. Course work will vary but typically includes participation in weekly experiments and the presentation of self-devised projects at midterm and the end of the semester. Students work with the materials, structures, and techniques introduced to make their own work in genres of their own choice.	Class Number 2235	Credits 3	Department Art & Technology / Sound Practices Location MacLean 431
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. Application is required for consideration. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1529	Credits 3	Department Photography Location 280 Building Rm 207
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. Application is required for consideration. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1529	Credits 3	Department Photography Location 280 Building Rm 207
Topics in Photography	3005 (003)	Monika Niwelinska	Mon 9:00 AM - 3:00 PM In Person
Description Topics courses cover a wide range of aesthetic concerns and change according to the semester and faculty, allowing a more in-depth examination of specific topics within photography. The courses provide students access to the specific topics driving faculty research and practice, as well as allowing the department to nimbly address issues pressing to our current context and time. Additionally, these courses are used to address the interests of students not already covered in our curriculum. The format ranges in each section, but these six hour studio courses are meant to engage students in both research and making, developing their own artistic trajectory. The format is often experimental, modeling the artistic practice of the instructor and generously expanding the photographic medium. Close-reading and discussion are essential; looking at and discussing art; creating new work and exchanging feedback. Recent topics have included: Decolonizing the Gaze, Desire, Representation and the Self, Screen Capture, Creative Production and Portfolio, Observing Power, Rich and Poor, The Archive, and Constructing the Rural. Readings are subject to individual course topics and not exemplified here. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1536	Credits 3	Department Photography Location 280 Building Rm 216
Topics in Photography	3005 (004)	Dawit L. Petros	Wed 9:00 AM - 3:00 PM In Person
Description Topics courses cover a wide range of aesthetic concerns and change according to the semester and faculty, allowing a more in-depth examination of specific topics within photography. The courses provide students access to the specific topics driving faculty research and practice, as well as allowing the department to nimbly address issues pressing to our current context and time. Additionally, these courses are used to address the interests of students not already covered in our curriculum. The format ranges in each section, but these six hour studio courses are meant to engage students in both research and making, developing their own artistic trajectory. The format is often experimental, modeling the artistic practice of the instructor and generously expanding the photographic medium. Close-reading and discussion are essential; looking at and discussing art; creating new work and exchanging feedback. Recent topics have included: Decolonizing the Gaze, Desire, Representation and the Self, Screen Capture, Creative Production and Portfolio, Observing Power, Rich and Poor, The Archive, and Constructing the Rural. Readings are subject to individual course topics and not exemplified here. Prerequisites Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.	Class Number 1539	Credits 3	Department Photography Location 280 Building Rm 215
Acoustic Ecology and Phonography	3006 (001)	Eric Leonardson	Fri 9:00 AM - 3:00 PM In Person
Description This course is founded on exploring and understanding the richness and diversity of our sound environment: the sounds that are present, how they constantly change in time, their impact socially and individually, and how they can be attentively recorded and creatively deployed. Research conducted through recording will serve as a basis for discussion of acoustic ecology: an interdisciplinary concern with the social, scientific, and aesthetic interrelationships between individuals and their environment mediated by sound. Students will gain technical and critical skills and an understanding of the reciprocity of listening and sound-making, leading to increasing the potential for effective public engagement and social practice, and engaging with human perception and technology in human and non-human eco-systems. Coursework is supplemented by examining works by artists and writers including Steven Feld, R. Murray Schafer, Annea Lockwood, Pauline Oliveros, Chris Watson, Hildegard Westerkamp, Luz Maria Sanchez, Amanda Gutierrez, Leah Barclay, Christopher DeLaurenti, Jonathan Sterne, Francisco Lopez, Norman Long, Viv Corringham, Christina Kubisch, Andra McCartney, Jean-François Augoyard, Henri Torgue, Andrea Polli, Manuel Rocha Irtube and others. Assigned projects include but are not limited to field recording, soundwalking, mapping, habitat monitoring and restoration, learning and cognition, communications, and soundscape composition. These lead to independent individual or collaborative projects.	Class Number 2118	Credits 3	Department Art & Technology / Sound Practices Area of Study Community & Social Engagement, Public Space, Site, Landscape Location MacLean 522
Analog Electronics	3007 (001)	Brett Ian Balogh	Tues 9:00 AM - 3:00 PM In Person
Description Even though we live in a primarily analog world, most of our experience of modernity is digital. We will examine the similarities and differences of these two worlds through the lens of electronics, focusing on the role of analog systems in art-making. The course provides a hands-on exploration of analog sound and video circuit elements and systems as well as a survey of relevant artists, artworks and practices. Students will be able to make a variety of works, including performance, interactive objects and environments, still images, audiovisual instruments, audio pieces, and video, to name a few. Course activities will be supported by the purchase of a kit of resources to facilitate hands-on exploration. Each student will research a topic of interest and will respond to it through the lens of their own practice in the creation of a final project. No prior skills in electronics or art and technology studies are required; however, curiosity and a willingness to learn are a must.	Class Number 1111	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science, Social Media and the Web Location MacLean 423
Advanced Post-Production and Fine Printing	3007 (001)	Matthew C. Siber	Thurs 9:00 AM - 3:00 PM In Person
Description Advanced Post-Production and Fine Arts Printing refines and expands the digital imaging skills learned in previous classes. Emphasis is placed on all stages of production that occur after image acquisition and streamlining digital workflow and mastering advanced editing skills in preparation for creating exhibition-quality prints. Workflow techniques include advanced image correction, color management, and advanced masking methods. Photo manipulation approaches focus on using Photoshop and other photo editing software addons and programs as creative tools for exploring the conceptual applications of retouching, image compositing, color grading, and other post-production methodologies. This course utilizes a variety of technical assignments designed to build and reinforce digital skill-building. Students will progress through the technical material via structured assignments and the completion of self-conceived creative projects. Readings and discussions address contemporary theoretical issues surrounding digital imaging and the constant shift and development of new capabilities associated with digital output technologies. Since the toolsets related to color science, photographic manipulation and digital asset management software are in constant flux, assignments will also incorporate research methodologies and problem-solving specific to students? workflow and output needs. Students will gain new perspectives on current toolsets, and the skill to evaluate and stay current as toolsets associated with post-production continue to evolve. Prerequisites Prerequisite: PHOTO 1001 and PHOTO 2010.	Class Number 1537	Credits 3	Department Photography Area of Study Digital Imaging, Books and Publishing Location 280 Building Rm 216
Top: 'Sex in Public'	3007 (001)	Kirin Wachter-Grene	Fri 12:15 PM - 3:00 PM In Person
Description This course addresses sexuality and the erotics of interclass contact from the end of the 1960s through the present, with an emphasis on LGBTQ+ within a historical nexus of urban life, architecture, law, and struggles for civil rights. In what ways are our sexual lives produced, mediated, and disciplined by publics (and what are 'publics'?). Readings include Samuel R. Delany, Lauren Berlant, Michael Warner, Pat Califia, Gayl Rubin, David Wojnarowicz, Michel Foucault, Jeffrey Weeks, Laud Humphries, Tim Dean, Mireille Miller-Young, and more. We will also learn from guest speakers involved in the leather, kink, and fetish communities. Students can expect to read between 50-75 pages of critical and theoretical material per week and to write about and discuss texts in depth. Students will also take turns as discussion leaders. Prerequisites Prerequisite: First Year English requirement.	Class Number 1729	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location Lakeview - 202
Top: Gender: Theory & Action	3007 (002)	Whitney D. Johnson	Tues 12:15 PM - 3:00 PM In Person
Description Gender theory is mobilized in feminist activism toward a variety of goals. This course will offer a survey of social theories of gender and will proceed to identify them as the foundations and justifications of social movements in each wave of feminism. Theories include de Beauvoir, Crenshaw, Rubin, Schilt, and Butler. Social movements will include suffragettes, NOW, the Combahee River Collective, riot grrrl, Sisters in Islam, and transgender social movements. Prerequisites Prerequisite: First Year English requirement.	Class Number 1751	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location MacLean 301
Topics in Gender and Sexuality	3007 (003)	Ivan Bujan	Mon 8:30 AM - 11:15 AM In Person
Description Topics courses in gender and sexuality studies are used to provide a broad interdisciplinary introduction to and more thematically-specific knowledge of historical and contemporary topics in gender and sexuality studies. While course texts will vary depending on the instructor and topic, texts may include books, articles, book chapters, films, audio recordings and other materials used to provide insight into gender and sexuality studies. Assignments will vary depending on the instructor and topic, assignments may include quizzes, exams, standard academic papers, research papers, group projects, and other activities enhancing knowledge and understanding of gender and sexuality studies. Prerequisites Prerequisite: First Year English requirement.	Class Number 2375	Credits 3	Department Liberal Arts Area of Study Gender and Sexuality Location MacLean 920
Intermediate/Advanced Screenprinting	3008 (001)	Peter Power	Wed 9:00 AM - 3:00 PM In Person
Description Advanced exploration is encouraged in the screenprinting medium. Emphasis is placed on individual experimentation, development and the refinement of technical skills. Processes offered include large format printing, 4-color separation, and other advanced traditional photographic and digital techniques. Prerequisites PRINT 2005 or 2008 Pre-req	Class Number 1550	Credits 3	Department Printmedia Location 280 Building Rm 222
Olfactory Art	3009 (001)	Tedd Neenan	Tues 9:00 AM - 3:00 PM In Person
Description Students will investigate scent as an expressive medium. They will have access to the ATS Perfume Organ and specialized lab equipment. Course content includes basic aromatic blending, hydro-distillation extraction techniques and how to impregnate scent into various media. At least TWO works of Olfactory Art are to be completed. The last one is considered the FINAL and should be an opus ready for gallery/performance/experiential application.Students should leave this class with the ability to thoughtfully engage Olfactory Work as practitioners, researchers and thinkers within personal, historical, theoretical and conceptual contexts.	Class Number 1112	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location Michigan B1-19
Structuring, Sequencing and Series	3010 (001)	Colleen Plumb	Mon 9:00 AM - 3:00 PM In Person
Description Photography is everywhere. Sequences and series are the ubiquitous ways we most often see photographic images. Photographic meanings are pliable in shifting contexts from published sequences online and in print, to images in photobooks, exhibitions and installations. This class critically examines how series of images are structured and the significance those structures hold. ?That photography resists being shaped by any single set of imperatives or standards ? as it literally permeates our public and private and our rational and fantasy lives ? renders it, by its very nature unruly and hard to define.? Marvin Heiferman. This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments develop skillful use and understanding of serial imagery by engaging narrative and non-narrative strategies in a variety of sequences, books, zines, portfolios, web-based projects, installations, videos, and projected presentations. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1528	Credits 3	Department Photography Area of Study Digital Imaging, Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 215
Tutorial in Visual and Critical Studies	3010 (001)	Danny Floyd	Thurs 8:30 AM - 11:15 AM In Person
Description This course will provide a link between Issues in Visual and Critical Studies, required of all first-year B.A. students, and the Thesis Seminar required in their final year. Typically, students will take this course at the end of their second year of full-time study. Building on the Issues course, early in the course students will read material that suggests the range of possibilities for visual and critical studies. Then each student will undertake a project that focuses on some aspect of visual and critical studies of particular interest to them. The project must include a substantial written component, although it might also make use of other media. Student presentation of their projects, as works in progress and then completed work, will provide opportunity for discussion of how they might give coherence to their final semesters of study. This will include suggestions for connections they might make among different aspects of their education, and will serve as an early stage in the process of developing a senior thesis project. Prerequisites Prerequisite: Open to BAVCS/BFAVCS students only.	Class Number 1767	Credits 3	Department Visual and Critical Studies Location MacLean 617
Multi-Lvl Fashion Illustration	3010 (001)	Dijana Granov	Mon 9:00 AM - 3:00 PM In Person
Description This course is designed for students who have completed beginning fashion illustration. Emphasis is placed on personal style and media development. Students explore a variety of texture rendering and illustration problem solving. Prerequisites Prerequisite: FASH 2007	Class Number 1366	Credits 3	Department Fashion Design Area of Study Illustration Location Sullivan Center 734
Sound and Image	3011 (001)	James Paul Wetzel	Tues 9:00 AM - 3:00 PM In Person
Description This course focuses on the relationship of sound to moving image, and introduces post-production techniques and strategies that address this relationship as a compositional imperative. Thorough instruction is given on digital audio post-production techniques for moving image, including recording, sound file imports, soundtrack composition and assembly, sound design, and mixing in stereo and surround-sound. This is supplemented by presentations on acoustics and auditory perception. Assigned readings in theories and strategies of sound-image relationships inform studio instruction. Assigned projects focus on gaining post-production skills, and students produce independent projects of their own that integrate sound and moving image. Artists include Chantal Dumas, Walter Verdin, Deborah Stratman, Lucrecia Martel, Martin Scorcese, Abigail Child, Frederic Moffet, Gyorgi Palvi, Francis Ford Coppola, Gary Hill, and others. Writings in theory include texts by Michel Chion, Rick Altman, and others. The student?s independent image-and-sound work is foregrounded and supported; supplemental assigned projects include sound sequence composition and ADR recording and mixing. Prerequisites SOUND 2001 or FVNM 2004 or FVNM 5020	Class Number 1757	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication Location MacLean 1413
Exploratory Media	3011 (001)	Oliver Sann	Tues 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. Prerequisites Prerequisite: 3 credits of PHOTO 2000 level courses.	Class Number 1530	Credits 3	Department Photography Area of Study Digital Communication, Social Media and the Web Location 280 Building Rm 214
Intermediate Typography	3011 (001)		Mon 9:00 AM - 3:00 PM In Person
Description This course explores the power and beauty of typography as a delivery mechanism for information, narrative structures and alternate forms of expression. Working with form, space and meaning, students can expect to learn how to organize complex verbal information into cohesive typographic systems and hierarchical configurations; how to create sophisticated grid systems and enhance functionality through navigation and structural consistency within a multiple page/screen environment; how to work with intertextuality, non-linearity, dramatic pacing and experimental typography as an emotive voice. Suggested readings and screenings vary and may include Thinking With Type (Lupton, 2010), Letter Fountain (Pohlen, 2015), The Elements of Typographic Style (Bringhurst, 2004), The Complete Manual of Typography (Felici, 2012), Typographic Design: Form and Communication (Carter, Day, Meggs, 2012). In addition, students will examine the application and effects of typographic design in historical and modern-day contexts with a primary focus on print media. Students will work on assignments of varying complexity and duration. Assignments are structured to build skills, understanding and confidence in typographic manipulation, and are designed to yield valuable components of the student?s portfolio. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1796	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Books and Publishing Location Sharp 1115
Illustration: Objects of Fashion and Lifestyle	3011 (001)	Donald Yoshida	Fri 9:00 AM - 3:00 PM In Person
Description This class focuses on various drawing techniques and skills with an emphasis on illustrating fashion accessories and lifestyle objects that fill our world. Personal style and media exploration are aimed at developing portfolios. Concentration on presentation ideas and refining design details are included in this studio workshop. Students work on studio problems, sketchbook assignments, and individual projects. Prerequisites Prerequisite: FASH 2007	Class Number 1376	Credits 3	Department Fashion Design Location Sullivan Center 734
Sound and Image	3011 (001)	James Paul Wetzel	Tues 9:00 AM - 3:00 PM In Person
Description This course focuses on the relationship of sound to moving image, and introduces post-production techniques and strategies that address this relationship as a compositional imperative. Thorough instruction is given on digital audio post-production techniques for moving image, including recording, sound file imports, soundtrack composition and assembly, sound design, and mixing in stereo and surround-sound. This is supplemented by presentations on acoustics and auditory perception. Assigned readings in theories and strategies of sound-image relationships inform studio instruction. Assigned projects focus on gaining post-production skills, and students produce independent projects of their own that integrate sound and moving image. Artists include Chantal Dumas, Walter Verdin, Deborah Stratman, Lucrecia Martel, Martin Scorcese, Abigail Child, Frederic Moffet, Gyorgi Palvi, Francis Ford Coppola, Gary Hill, and others. Writings in theory include texts by Michel Chion, Rick Altman, and others. The student?s independent image-and-sound work is foregrounded and supported; supplemental assigned projects include sound sequence composition and ADR recording and mixing. Prerequisites SOUND 2001 or FVNM 2004 or FVNM 5020	Class Number 1440	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication Location MacLean 1413
Intermediate Typography	3011 (002)	Timothy Bruce	Wed 9:00 AM - 3:00 PM In Person
Description This course explores the power and beauty of typography as a delivery mechanism for information, narrative structures and alternate forms of expression. Working with form, space and meaning, students can expect to learn how to organize complex verbal information into cohesive typographic systems and hierarchical configurations; how to create sophisticated grid systems and enhance functionality through navigation and structural consistency within a multiple page/screen environment; how to work with intertextuality, non-linearity, dramatic pacing and experimental typography as an emotive voice. Suggested readings and screenings vary and may include Thinking With Type (Lupton, 2010), Letter Fountain (Pohlen, 2015), The Elements of Typographic Style (Bringhurst, 2004), The Complete Manual of Typography (Felici, 2012), Typographic Design: Form and Communication (Carter, Day, Meggs, 2012). In addition, students will examine the application and effects of typographic design in historical and modern-day contexts with a primary focus on print media. Students will work on assignments of varying complexity and duration. Assignments are structured to build skills, understanding and confidence in typographic manipulation, and are designed to yield valuable components of the student?s portfolio. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1795	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Books and Publishing Location Sharp 1115
Intermediate Typography	3011 (003)	Mark Stammers	Fri 9:00 AM - 3:00 PM In Person
Description This course explores the power and beauty of typography as a delivery mechanism for information, narrative structures and alternate forms of expression. Working with form, space and meaning, students can expect to learn how to organize complex verbal information into cohesive typographic systems and hierarchical configurations; how to create sophisticated grid systems and enhance functionality through navigation and structural consistency within a multiple page/screen environment; how to work with intertextuality, non-linearity, dramatic pacing and experimental typography as an emotive voice. Suggested readings and screenings vary and may include Thinking With Type (Lupton, 2010), Letter Fountain (Pohlen, 2015), The Elements of Typographic Style (Bringhurst, 2004), The Complete Manual of Typography (Felici, 2012), Typographic Design: Form and Communication (Carter, Day, Meggs, 2012). In addition, students will examine the application and effects of typographic design in historical and modern-day contexts with a primary focus on print media. Students will work on assignments of varying complexity and duration. Assignments are structured to build skills, understanding and confidence in typographic manipulation, and are designed to yield valuable components of the student?s portfolio. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1817	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Books and Publishing Location Sharp 1116
The Black Atlantic	3012 (001)	Melanie Herzog	Thurs 12:15 PM - 3:00 PM In Person
Description Where is the Black Atlantic? What does it look, smell, taste, and feel like? How does it color our world? This class explores the visual and cultural history of the Black Atlantic?a phrase used to define the relationship between dissonant geographical locations that were forged into relationship with each other through the Transatlantic Slave Trade. We will forge an understanding of how vision, texture, touch, sound, and color owe their meanings through the Middle Passage and its production of arts of the Black Atlantic. Crucial to this class is the artwork of practitioners like Jacob Lawrence, Soly Cisse, AfriCOBRA, Aubrey Williams, Faustin Linyekula, Yinka Shonibare, and Renee Green. We will focus primarily on the visual history and cultural impact of the Middle Passage as discussed through the writings of Afro-Caribbean, West African, Black American, and Black British scholars. We will work with concepts like ?native? visual forms, the coloniality of painting, Negritude, and the anticolonial imagination. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1089	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Politics and Activisms Location MacLean 112
Sound Now: Improvisation	3012 (001)	Damon Locks	Tues 9:00 AM - 3:00 PM In Person
Description The focus of this class will be on improvisation within and without traditions and in relationship and juxtaposition to genre and structure. There are many manifestations across cultures of freedom and transformation through improvisation. We will look at improvisational sound, music and performance and their potentials and outcomes -- from moments of imaginative exploration inside the form, to the search for freedom, discovery and re-contextualization. We will dig into the need for improvisation, its effect on the audience, and its power to provoke cultural change. Can improvisation be a practice as a whole, an approach to all forms? Improvisation in performance and practice takes us to new places that are of the moment and a way forward, as exemplified in the work of the provocative Egyptian vocalist Umm Kalsoum who broke gender norms; Sun Ra¿s sonic storytelling and myth building based on Black American cultural signifiers; the genre-bending deconstructive electronic manipulations of Mixmaster Mike. The students¿ individual and collective explorations of improvisation in their own practice will be fueled by discussions, recordings, performance documentation and texts by artists, practitioners, and writers, including Rob Mazurek, Tomeka Reid & Nicole Mitchell, Wadada Leo Smith, Sun Ra, Umm Kalsoum, Kid Koala & Mixmaster Mike, and more. Students engage in a variety of in-class approaches to individual and collective improvisation. These include exercises on exploring and expanding one's instrument of choice, close-listening and responsive-listening projects aimed at increased attention to collaborators in the moment, and projects in which cross-cultural and historical approaches to improvisation are analyzed and mobilized towards individual interpretation. These are amplified by meetings with visiting artists who share their experiences of improvisation in a wide range of contexts.	Class Number 1764	Credits 6	Department Art & Technology / Sound Practices Area of Study Art/Design and Politics Location MacLean 522
DIY: Self-Management for Artists	3012 (001)	Cortney Lederer	Tues 12:15 PM - 3:00 PM In Person
Description The life of an artist is largely self-directed and self-managed. Reflecting on our current gig economy, we know that artists have always been considered the original gig workers tasked with managing an active studio practice, alongside multiple jobs and projects. DIY: Self-Management for Artists looks to the inherent management tools embodied in artistic practice, as a theoretical and practical framework to apply toward managing a sustainable and purposeful professional and personal life. This class will explore listening and critical feedback, project development and management, marketing and branding strategy, strategic planning, negotiation, building and maintaining networks, and portfolio development. Readings will vary, and include articles and excerpts from: How to do Nothing: Resisting the Attention Economy by Jenny Odell, The Art of Gathering: How we Meet and Why it Matters by Priya Parker, Start with Why: How Great Leaders Inspire Everyone to Take Action by Simon Sinek, Critical Response Process: A Method for Getting Useful Feedback on Anything you Make from Dance to Dessert by Liz Lerman; The Artist?s Guide: How to Make a Living Doing What You Love by Jackie Battenfield, Making: Your Life as an Artist by Andrew Simonet, Living and Sustaining a Creative Life: Essays by 40 Working Artists by Sharon.Loudon Course work will vary but will include readings and critical writing responses throughout the semester, the development of a written project scope, regular class presentations and a final project on one aspect of a student's portfolio.	Class Number 1101	Credits 3	Department Arts Administration and Policy Location MacLean 501
Supply and Surplus: The Art of Making Things	3014 (001)	Jackey Cave	Mon 9:00 AM - 3:00 PM In Person
Description This advanced course focuses on the making of things through the use of drawing, garment, and sculpture and its use in lifestyle. Outings to a variety of alternative sites are the central part of this class, including thrift stores, warehouses, flea markets, and the rural surroundings. Students investigate the idea of 'Usefulness' as well as function, content, appropriate design, and audience. Emphasis is placed on challenging the narrative definition of 'The art of making things.' Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1368	Credits 3	Department Fashion Design Area of Study Public Space, Site, Landscape, Sustainable Design Location Sullivan Center 723
Artist in the Here and Now	3015 (001)	Lorraine Peltz	Thurs 3:30 PM - 6:15 PM In Person
Description This course will examine the many issues and contexts surrounding what it means to be an artist today. We will consider the multiple positions of the artist in contemporary culture, their relationships to their audience(s) and to the market, and closely examine major themes and strategies in contemporary art-making. Students will further investigate and articulate their own practice and its relationship to larger creative and cultural structures to contextualize their own goals and desires for their work. What does it mean to be an artist at this moment in time? This is the fundamental and critical question of the course, and as the course proceeds, will yield a broad and diverse range of responses. We will be reading excerpts from Ways of Seeing, John Berger; ?What Art Is and Where it Belongs,? Paul Chan; and Carter Ratcliff. Additional readings and videos will be topical, and come from current sources as the New York Times, ArtNews, Artforum, The Guardian, Aperture, the NewYorker, Interview Magazine, Artnet, Hyperallergic, the Observer and Jsonline. The class consists of discussions of current readings and videos on contemporary artists, exhibitions, and themes, visits to gallery and museums, guest speakers, and student presentations. Each student will lead a discussion on selected contemporary artists and specific readings from our class syllabus. Students present their work at the beginning of the semester and the end, create an artist statement, artist bio, and a Powerpoint presentation on their work in relation to the artists and topics discussed in class. This class is driven by discussions and each student's full participation is expected.	Class Number 1105	Credits 3	Department Arts Administration and Policy Area of Study Teaching Location MacLean 112
The Mathematical Secrets of Music	3015 (001)	Eugenia Cheng	Mon 8:30 AM - 11:15 AM In Person
Description We will study aspects of abstract mathematics as exemplified by Western Classical Music. We will look at classical music notation, notes and tonality, as well as the sounds that instruments and voices make, and at a broader scale the overall structure of pieces of music. Mathematics will be used to analyse, explain and clarify all these aspects of music. There will be a broad range of math topics from all the major branches of pure mathematics including algebra and group theory, number theory, calculus, fourier analysis and topology. These will be built up from the basics and unlike in a standard math class, the examples will all be aspects of music. The music will be western classical music including works by Bach, Schubert, Brahms, Chopin, Debussy, Stravinsky, Schoenberg, Wagner, Janacek, Shostakovich, Britten, Messiaen. Assignments will take the form of math problems, open book quizzes, application of math to analyse existing music, application of math to generate and transform original music, and reflective writing assignments. No memorisation will ever be required. Prerequisites Prerequisite: First Year English requirement.	Class Number 1677	Credits 3	Department Liberal Arts Area of Study Art and Science Location MacLean 617
The Mathematical Secrets of Music	3015 (002)	Eugenia Cheng	Mon 12:15 PM - 3:00 PM In Person
Description We will study aspects of abstract mathematics as exemplified by Western Classical Music. We will look at classical music notation, notes and tonality, as well as the sounds that instruments and voices make, and at a broader scale the overall structure of pieces of music. Mathematics will be used to analyse, explain and clarify all these aspects of music. There will be a broad range of math topics from all the major branches of pure mathematics including algebra and group theory, number theory, calculus, fourier analysis and topology. These will be built up from the basics and unlike in a standard math class, the examples will all be aspects of music. The music will be western classical music including works by Bach, Schubert, Brahms, Chopin, Debussy, Stravinsky, Schoenberg, Wagner, Janacek, Shostakovich, Britten, Messiaen. Assignments will take the form of math problems, open book quizzes, application of math to analyse existing music, application of math to generate and transform original music, and reflective writing assignments. No memorisation will ever be required. Prerequisites Prerequisite: First Year English requirement.	Class Number 1678	Credits 3	Department Liberal Arts Area of Study Art and Science Location MacLean 617
Advanced Footwear Design	3016 (001)	James Robert Sommerfeldt	Thurs 3:30 PM - 9:15 PM In Person
Description In an advanced exploration of footwear design and making, lectures discuss the history of shoes and boots and both historic and contemporary methods of construction. Student explore advanced pattern-making and experimental construction. Projects include footwear samples and a visual presentation of a concept with design illustrations. Prerequisites Prerequisite: FASH 2016 or instructor consent	Class Number 1361	Credits 3	Department Fashion Design Location Sullivan Center 723
Permeable Membranes	3016 (001)	Jade Yumang	Fri 9:00 AM - 3:00 PM In Person
Description A membrane is a thin, typically planar structure or material that separates two environments, be those physical, molecular, or cultural. This class investigates this transitional space, and the potential for movement and transgression through it. Membrane structures are developed as surfaces, forms, and spatial relationships through techniques like chenille quilting, free motion sewing with a soluble membrane, nuno felting, papermaking in 2D and 3D, resist wax dyeing (batik), dip and wick dyeing, fabric burnout (devore) through silkscreening, protein/cellulose combination dyeing, and jacquard crocheting. Readings on conceptual permeability will include Jean Baudrillard?s ?Simulacra and Simulations?, Andrew Ballantyne?s ?Remaking the Self in Heterotopia?, Homi K. Bhabha?s ?On `hybridity? and `moving beyond??, and Roger Cardinal?s ?Secrecy?. Techniques will be divided into three major projects with written statements. This course also requires artist and reading presentations.	Class Number 1394	Credits 3	Department Fiber and Material Studies Location Sharp 902
Digital Jacquard Weaving: Zeroes and Ones	3017 (001)	Danielle Andress	Thurs 9:00 AM - 3:00 PM In Person
Description The computer driven Jacquard goes beyond the limitations of a floor loom by interfacing with a computer to allow for direct control of individual threads. This course explores the historical and conceptual interstices of digital technology and hand weaving through the use of this loom Utilizing Photoshop and Jacquard weaving software, students will realize projects that begin with digital source material and result in hand woven constructions. The strongly debated connection between the Jacquard loom?s use of punched cards and the history of computers will be central to the course, as will the contemporary use of the loom as a new media tool. Studio work will blend work at the computer, weaving on the loom, reading, research and critical discussion. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 1408	Credits 3	Department Fiber and Material Studies Area of Study Digital Imaging Location Sharp 1011
Women Artists in Cyberspace	3018 (001)	Judy Malloy	TBD - TBD All Online
Description With a concentration on creative practice in online environments, students will focus on the work of women, from the early days of computing, to the late 20th century, to the 21st century. In addition to lectures, readings, and traversals, practicum segments will guide student creation of online works that explore and expand on the role of women in cyberspace. Beginning with the work of women software engineers, such as black mathematician Katherine Johnson, and engineer and transgender activist Lynn Conway -- and with a project-oriented focus -- the course will look at the cyberspace-based work of women artist innovators, including ECHONYC founder, Stacy Horn; Cave Automatic Virtual Environment developer Carolina Cruz-Neira; and Ping Fu and Colleen Bushell's role in graphical interface design for Mosaic. At its core, the course will focus on the works of women cyberartists, including Joan Jonas, Sherrie Rabinowitz, Nancy Paterson, Brenda Laurel, Pamela Z, Char Davies, Lynn Hershman Leeson, Shu Lea Cheang, Tamiko Thiel, Carla Gannis, and Micha Cardenas. Students will create women-centered virtual art works, including graphic narratives and electronic manuscripts, and/or archives, online essays, or criticism. Note that because Women Artists in Cyberspace is an asynchronous class, attendance on a specific day or time is not required.	Class Number 1119	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Communication, Digital Imaging, Gender and Sexuality Location Online
Multi-Level Knitwear: Machine Structures	3018 (001)	Jennifer Michelle Plumridge	Thurs 3:30 PM - 9:15 PM In Person
Description This course enables students who hand knit to pursue the challenge of creating garments and/or objects with knitting machines. Through demonstration and discussion of traditional basic methods and structured exercises will give the students a foundation in various stitch patterns and techniques. Shape and fit along with texture manipulation are explored. Historical reference as well as current contemporary design concepts will be researched enabling students to focus on individual design to produce a garment or an object. Students will design, sample and explore possibilities in a traditional and non-traditional manner using various materials. Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1364	Credits 3	Department Fashion Design Location Sullivan Center 701
Material Actions	3018 (001)	Ginger Krebs	Wed 9:00 AM - 3:00 PM In Person
Description Artists have interacted privately and publicly in a variety of performative forms with 'stuff' such as food, sculptures, costumes, found objects, natural materials and mass-produced objects. This course investigates the ways in which material can be at the center of performance works. Through a series of assignments, students research materials from scientific, historical, phenomenological, metaphoric, symbolic, sociological and political perspectives; and produce personal and collaborative pieces in a variety of sites and settings.	Class Number 1508	Credits 3	Department Performance Location MacLean 2M
Advanced Artists' Books	3018 (001)	Myungah Hyon 현명아	Wed 9:00 AM - 3:00 PM In Person
Description This course offers advanced exploration with visual and written material in paged sequence. Ideas are encouraged within a broad range of possibilities, via the format of the artist' book. The development of a major project is encouraged. Prerequisites Prerequisite: PRINT 2018 or PRINT 3007.	Class Number 1553	Credits 3	Department Printmedia Area of Study Books and Publishing Location 280 Building Rm 113
Analog Synthesis	3019 (001)	Austen Brown	Wed 9:00 AM - 3:00 PM In Person
Description This course considers the building blocks of modular analog synthesis- oscillators, amplifiers, and filters, using vintage and modern analog equipment. The course also considers various frequency and amplitude modulation techniques, including ring modulation and frequency shifting. These techniques are contextualized in a brief survey of the history of `classical' analog synthesis music, both European and American, with some analysis of classical studio technique in the work of composers such as Stockhausen, Berio, Koenig, Subotnik, Oliveros, Babbit, etc. Weekly compositional projects emphasize particular technical and aesthetic problems.	Class Number 2119	Credits 3	Department Art & Technology / Sound Practices Location MacLean 416
Latinx Art and Visual Culture	3020 (001)	Deanna Ledezma	Fri 12:15 PM - 3:00 PM In Person
Description This course examines the dynamism and complexities of Latinx artistic and cultural production in the United States from the mid-twentieth century to the present. An imperfect yet ultimately generative identifier, Latinx is a gender-neutral term for people of Latin American and/or Caribbean birth or descent living in the United States. In addition to studying the formation of Latinx identities among artistic and creative practitioners, the course will study the context-specific histories that have shaped the aesthetics, ideological frameworks, and socially engaged practices of Latinx art and visual culture. We will read a variety of texts and publications that debate, conceptualize, and critique Latinx art and visual culture, including academic essays and book chapters, interviews and dialogues, exhibition catalogues, primary documents and manifestos, artists¿ books, and zines. Throughout the class, we will investigate issues concerning race and ethnicity, gender and sexuality, intersectionality, migration and diaspora, social and political activism, family and kinship, religion and spirituality, art markets, and cultural reclamation. Students can expect to complete weekly reading responses, a midterm exam, a 3-5-page essay on an exhibition or artwork, a final research paper, and a class presentation about their final paper topic. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1055	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Community & Social Engagement, Art/Design and Politics Location MacLean 707
Ceramics for Designed Objects	3020 (001)	Chris Salas	Wed 9:00 AM - 3:00 PM In Person
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 2154	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design, Digital Imaging, Sustainable Design Location 280 Building Rm M153
Ceramics for Designed Objects	3020 (001)	Chris Salas	Wed 9:00 AM - 3:00 PM In Person
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
Fashion Intensive Portfolio	3021 (001)	Johnny Diamandis	Wed 9:00 AM - 3:00 PM In Person
Description This class focuses on the visual development of an individual fashion portfolio, culminating in a presentation on fashion design. Students learn the skills necessary in the fashion industry - how to draw technical flats, fashion illustration, and layout planning - skills through which students explore new concepts and create collections. With this industry-ready portfolio, students will have the professional body of work to compete in the rigorous and competitive field of fashion. Prerequisites FASH 2900 or Instructor Permission	Class Number 1377	Credits 3	Department Fashion Design Location Sullivan Center 723
Constructing Meaning: Exhibit Design Practicum	3021 (001)	Amy Reichert	Thurs 12:15 PM - 3:00 PM In Person
Description This course will focus on theoretical and practical aspects of exhibition design, including construction aesthetics, community engagement, and the politics of display. Topics covered range from lighting and human perception to voice and authority in museum labels. These issues will be explored via individual site visits to established and alternative exhibit spaces, where students will critique current installations, as permitted by Covid restrictions. Guest speakers from major museums will supplement class lectures and discussions. We will adopt a critical stance in exploring the relationship between people, objects, and space in this environment.	Class Number 2242	Credits 3	Department Arts Administration and Policy Area of Study Exhibition and Curatorial Studies Location Lakeview - 206
Designed Objects Studio Three	3022 (001)	Eric Allan Hotchkiss	Tues 9:00 AM - 3:00 PM In Person
Description What does it mean to design for other people? The third course in the Des Ob studio sequence considers how designers are able to understand others and then design for them. We will investigate the things that people do, the objects that they use, how they feel and what they might need, want or desire in order to understand and then design meaningful objects. Students have the opportunity to work with design research, advance their design skills and complete more involved projects. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template. The class introduces relevant research and visualization tools used to gather research insights and generate design ideas. Sketches, mock-ups and models are used to test discuss, and refine research insights, design ideas and propose final concepts. Students can expect to complete one to two projects over the semester and present their progress throughout the term. Prerequisites Pre-req: DES OB 2030 Designed Objects Studio Two	Class Number 1263	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1240
Beginning Screenwriting	3024 (001)	Raghav Rao	Tues 3:30 PM - 6:15 PM In Person
Description This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.	Class Number 1420	Credits 3	Department Film, Video, New Media, and Animation Area of Study Playwriting/Screenwriting, Books and Publishing Location MacLean 517
Beginning Screenwriting	3024 (002)	Gitanjali Kapila	Fri 8:30 AM - 11:15 AM In Person
Description This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.	Class Number 1428	Credits 3	Department Film, Video, New Media, and Animation Area of Study Playwriting/Screenwriting, Books and Publishing Location MacLean 517
Lit Art: Literary styles of describing, interpreting, and explaining works of art.	3025 (001)	David Raskin	Mon 12:15 PM - 3:00 PM In Person
Description This undergraduate seminar is for all types of writers (critics, creative writers, and scholars) who want to analyze the dimensions of literary and scholarly forms of description, interpretation, and explanation. Poetry, short stories, personal essays, passages from novels, and art-history articles will form the ground for weekly encounters with works of art in the Art Institute of Chicago, as we compare what we read to what we encounter in person. Each class meeting has a tripartite structure, as we compare a literary engagement with a work of art, evaluate a scholarly argument about the same piece or its creator, and personally engage the same or similar work in the Art Institute of Chicago. We will respond to the works of art currently on display, and, as warranted, pair the appropriate scholarship with creative works by writers such as Ada Limón, Victoria Chang, Hilton Als, Diane Seuss, Mark Doty, Hanif Abdurraqib, Wayne Koestenbaum, Vivek Shraya, Cris Kraus, Ben Lerner, Teju Cole, Eileen Myles, Gwendolyn Brooks, Paisley Rekdal, Zadie Smith, Jeffrey Yang, and John Ashbery, among others. Students will write concise analyses of every reading assignment plus a weekly follow-up reflection as preparation for a final hybrid research paper that situates their personal moment of encounter with a work of art in the Art Institute of Chicago within art-historical scholarship. The goal is for students to probe their personal experiences with art for wider cultural implications. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1096	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Museum Studies, Gender and Sexuality Location MacLean 301
The Art of Nonviolence	3025 (001)	Suellen Semekoski	Tues 3:30 PM - 6:15 PM In Person
Description This course explores nonviolence through the nexus of contemplative reflection and people powered direct action. Research includes identifying personal, local and global exemplars of creative nonviolence through arts based inquiry. The history of nonviolence, the role of arts in nonviolent movements, mindfulness practices and nonviolent communication are foundations for the culminating project of the class. Students will engage in shared collaboration of artistic practices with an existing social action group in exploring love and protection or Gandhi?s soul force or Satyagraha. Prerequisites Prerequisite: Must have completed one Art Therapy, Art Ed or Artsad class prior to enrolling.	Class Number 1135	Credits 3	Department Art Therapy Area of Study Politics and Activisms, Collaboration, Interaction and Participation Location Sharp 404
Experimental Film and Video Narrative	3026 (001)	Melika Bass	Thurs 9:00 AM - 3:00 PM In Person
Description This course is a production class designed for students interested in alternative modes of narrative production in film and Video. Through workshops on writing, acting, and directing, students learn to work with actors, dialogue, and alternative narrative structures. Students apply the concepts covered in class to their selected projects, from production through editing. Throughout the course, a wide range of narrative films utilizing experimental modes of production are screened. Technical issues are covered in cinematography workshops, but it is assumed that students have a solid technical grounding in their medium of choice. Though the body of this class focuses on film and video production, the class is also appropriate for students working in performance and sound. Prerequisites Prerequisite: FVNM 2005, 3003 or 5020	Class Number 1451	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 1304
Electronic Textiles and the Body	3026 (001)	Anke Loh, Christine Anne Shallenberg	Fri 9:00 AM - 3:00 PM In Person
Description Through lectures, readings and demos this studio class will focus on the use of e-textiles in art, design and fashion, with a focus on user-centered design, fashion applications, and embodied, tactile and sensory e-textiles with the potential for therapeutic, stimulating and engaging applications. Topics will include different types of sensing systems for stretchable/flexible/soft textiles with compatible sensors and electronics, as well as the opportunities and challenges of e-textiles in the areas of fashion and interior design. The class will cover reliability, sustainability and future trends. Professional practice field trips within the Chicago region will cover developing ventures in technology, art or wearables. Students will be introduced to techniques for building electronic components using non-traditional and soft materials and programming for Arduino to integrate sensors into expressive forms, expand their understanding of wearable technology history through readings and artists working at the intersection of technology and the body and improve their ability to synthesize ideas and to see a project through from research to final presentation and to consider the best form of presentation. Readings, lectures and screenings will vary. Example of suggested readings: Haptics by Lynette Jones, 2018 Smart Textiles: fundamentals, design, and interaction by Stefan Schneegass (University of Stuttgart) and Oliver Amft (University of Passau), 2017 Crafting Wearables: blending technology with fashion by Sibel Deren Guler, et al., 2016 Wearing Embodied Emotions: a practice based design research on wearable technology by Secil Ugur, 2013 Course work includes weekly reading responses, a mid-term, and a final project. Students can expect to produce a body of work consisting of 3-5 finished pieces during the semester. Departmental consent required: junior level and up preferred. Please send brief paragraph why you wish to take this course, portfolio 5-10 images of work relevant to this class, and a list of classes you have taken in fashion and/ or art & technology.	Class Number 2113	Credits 3	Department Art & Technology / Sound Practices Area of Study Costume Design, Community & Social Engagement, Art and Science Location MacLean 423
Electronic Textiles and the Body	3026 (001)	Anke Loh, Christine Anne Shallenberg	Fri 9:00 AM - 3:00 PM In Person
Description Through lectures, readings and demos this studio class will focus on the use of e-textiles in art, design and fashion, with a focus on user-centered design, fashion applications, and embodied, tactile and sensory e-textiles with the potential for therapeutic, stimulating and engaging applications. Topics will include different types of sensing systems for stretchable/flexible/soft textiles with compatible sensors and electronics, as well as the opportunities and challenges of e-textiles in the areas of fashion and interior design. The class will cover reliability, sustainability and future trends. Professional practice field trips within the Chicago region will cover developing ventures in technology, art or wearables. Students will be introduced to techniques for building electronic components using non-traditional and soft materials and programming for Arduino to integrate sensors into expressive forms, expand their understanding of wearable technology history through readings and artists working at the intersection of technology and the body and improve their ability to synthesize ideas and to see a project through from research to final presentation and to consider the best form of presentation. Readings, lectures and screenings will vary. Example of suggested readings: Haptics by Lynette Jones, 2018 Smart Textiles: fundamentals, design, and interaction by Stefan Schneegass (University of Stuttgart) and Oliver Amft (University of Passau), 2017 Crafting Wearables: blending technology with fashion by Sibel Deren Guler, et al., 2016 Wearing Embodied Emotions: a practice based design research on wearable technology by Secil Ugur, 2013 Course work includes weekly reading responses, a mid-term, and a final project. Students can expect to produce a body of work consisting of 3-5 finished pieces during the semester. Departmental consent required: junior level and up preferred. Please send brief paragraph why you wish to take this course, portfolio 5-10 images of work relevant to this class, and a list of classes you have taken in fashion and/ or art & technology.	Class Number 2113	Credits 3	Department Art & Technology / Sound Practices Area of Study Costume Design, Community & Social Engagement, Art and Science Location MacLean 423
Electronic Textiles and the Body	3026 (001)	Anke Loh, Christine Anne Shallenberg	Fri 9:00 AM - 3:00 PM In Person
Description Through lectures, readings and demos this studio class will focus on the use of e-textiles in art, design and fashion, with a focus on user-centered design, fashion applications, and embodied, tactile and sensory e-textiles with the potential for therapeutic, stimulating and engaging applications. Topics will include different types of sensing systems for stretchable/flexible/soft textiles with compatible sensors and electronics, as well as the opportunities and challenges of e-textiles in the areas of fashion and interior design. The class will cover reliability, sustainability and future trends. Professional practice field trips within the Chicago region will cover developing ventures in technology, art or wearables. Students will be introduced to techniques for building electronic components using non-traditional and soft materials and programming for Arduino to integrate sensors into expressive forms, expand their understanding of wearable technology history through readings and artists working at the intersection of technology and the body and improve their ability to synthesize ideas and to see a project through from research to final presentation and to consider the best form of presentation. Readings, lectures and screenings will vary. Example of suggested readings: Haptics by Lynette Jones, 2018 Smart Textiles: fundamentals, design, and interaction by Stefan Schneegass (University of Stuttgart) and Oliver Amft (University of Passau), 2017 Crafting Wearables: blending technology with fashion by Sibel Deren Guler, et al., 2016 Wearing Embodied Emotions: a practice based design research on wearable technology by Secil Ugur, 2013 Course work includes weekly reading responses, a mid-term, and a final project. Students can expect to produce a body of work consisting of 3-5 finished pieces during the semester. Departmental consent required: junior level and up preferred. Please send brief paragraph why you wish to take this course, portfolio 5-10 images of work relevant to this class, and a list of classes you have taken in fashion and/ or art & technology.	Class Number 2155	Credits 3	Department Fashion Design Area of Study Costume Design, Community & Social Engagement, Art and Science Location MacLean 423
Electronic Textiles and the Body	3026 (001)	Anke Loh, Christine Anne Shallenberg	Fri 9:00 AM - 3:00 PM In Person
Description Through lectures, readings and demos this studio class will focus on the use of e-textiles in art, design and fashion, with a focus on user-centered design, fashion applications, and embodied, tactile and sensory e-textiles with the potential for therapeutic, stimulating and engaging applications. Topics will include different types of sensing systems for stretchable/flexible/soft textiles with compatible sensors and electronics, as well as the opportunities and challenges of e-textiles in the areas of fashion and interior design. The class will cover reliability, sustainability and future trends. Professional practice field trips within the Chicago region will cover developing ventures in technology, art or wearables. Students will be introduced to techniques for building electronic components using non-traditional and soft materials and programming for Arduino to integrate sensors into expressive forms, expand their understanding of wearable technology history through readings and artists working at the intersection of technology and the body and improve their ability to synthesize ideas and to see a project through from research to final presentation and to consider the best form of presentation. Readings, lectures and screenings will vary. Example of suggested readings: Haptics by Lynette Jones, 2018 Smart Textiles: fundamentals, design, and interaction by Stefan Schneegass (University of Stuttgart) and Oliver Amft (University of Passau), 2017 Crafting Wearables: blending technology with fashion by Sibel Deren Guler, et al., 2016 Wearing Embodied Emotions: a practice based design research on wearable technology by Secil Ugur, 2013 Course work includes weekly reading responses, a mid-term, and a final project. Students can expect to produce a body of work consisting of 3-5 finished pieces during the semester. Departmental consent required: junior level and up preferred. Please send brief paragraph why you wish to take this course, portfolio 5-10 images of work relevant to this class, and a list of classes you have taken in fashion and/ or art & technology.	Class Number 2155	Credits 3	Department Fashion Design Area of Study Costume Design, Community & Social Engagement, Art and Science Location MacLean 423
Handmade Cinema	3027 (001)	Tatsu Aoki	Mon 9:00 AM - 3:00 PM In Person
Description Filmmakers often run into a problem of depending too much on equipment. This makes one believe that it is impossible to be creative without elaborate 'tools.' Artists of film can produce images in any circumstance-with or without complicated tools. If a filmmaker understands the process and mechanism of how images can be generated, equipment can be as minimal as one paper clip. This class is designed to introduce a variety of skills and ideas to make images with simple tools. Students are encouraged to make their own equipment to produce their own image effects. The course mainly focuses on reproduction of images without using large equipment. Some of the ideas introduced in this course are making images without camera and/or lenses; animation; pixilation; time exposure; time lapse; images using slides, stills, and newspapers; all phases of in-camera effects; rephotographing frames; printing in camera; optical printing; and contact printing. Prerequisites FVNM 2000 or FVNM 5020	Class Number 1429	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Animation Location MacLean 1408
Head Space:Advanced Millinery	3027 (001)	Eia Radosavljevic	Wed 9:00 AM - 3:00 PM In Person
Description Hats are conceptually powerful and visually important in both fashion design and performance. In this advanced course, headwear methodologies are explored through the challenges of wearable volume, relation of designed object to head, and couture-level workmanship, while underlying concept, innovative design, and technical dexterity are simultaneously stressed. A series of traditional hat-making techniques, e.g., wire-framing, blocking and draping, are explored and then expanded upon through alternative methods and materials to create wearable forms. Questions regarding the function and relevance of fashion and headwear, and their potential for interdisciplinary contextualization help drive students¿ design development. Select texts by authors such as Ann Albrizio, Susan Heiner, Stephen Jones, Simon Kelly, and Howard Risatti, may be included for further information. Works by historical and contemporary milliners like Solange de Fabry, Stephen Jones, Philip Treacy, and Madame Paulette provide context and inspiration, along with films and videos that highlight or explore headwear. Students with an interest in object design, sculptural practices or other making processes and disciplines are also welcomed with permission from the instructor. The semester culminates in SAIC¿s annual Headwear Awards judging. Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1362	Credits 3	Department Fashion Design Location Sullivan Center 727
The Unpainted Picture	3028 (001)	Diana Guerrero-Maciá	Wed 9:00 AM - 3:00 PM In Person
Description This studio course will consider how to compose a picture plane with a variety of materials including paper collage, fabric piecing, applique, heat press, direct dye application and other handwork, to create line and form. Students will make use of drawing and form invention methods including stitching and dying, in conjunction with, or in place of, painted surfaces. Projects and critiques will address the critical use of compositional elements and materials within the picture plane.	Class Number 1404	Credits 3	Department Fiber and Material Studies Location Sharp 904
Chemical Aftertaste: reactive processes for screen printing	3029 (001)		Tues 9:00 AM - 3:00 PM In Person
Description In this class, students will learn reactive processes for use in screen printing on fabric and pliable materials. Reactive processes are those that will chemically or physically alter the nature of the printed cloth and include; fiber reactive dyes, devoré or the burning away of fibers, bleaching and removing of color, and the sublimation of color from one surface to another. Screen printing will be the primary method of creating works, yet a broad disciplinary approach is encouraged. Assignments will be framed to address concepts of alchemy and instability, and include readings of works by; Georges Bataille, Anthony Vidler, Luce Irigaray, Yve-Alain Bois and Rosalind Krauss. Students will create three studio intensive projects for class critiques. Prior screen printing experience is recommended.	Class Number 2394	Credits 3	Department Fiber and Material Studies Location Sharp 905
Figure Painting A: Multi-Level	3030 (001)	Larissa Setareh Borteh	Mon 9:00 AM - 3:00 PM In Person
Description This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint. Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. Prerequisites Prerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030.	Class Number 1620	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 320
Installation Art	3030 (001)	Juan Angel Chavez	Mon 9:00 AM - 3:00 PM In Person
Description This course is a structural and poststructural investigation of sculptural site activation. The students explore the theory and practice of how work gets contextualized and redefined through its placement within a larger social, political, and economic sphere of meaning. Students investigate options and determinants operative in both indoor and outdoor sites, installations, and environments. Although the focus of the class is contemporary, topics of discussion range from Rodin's Burghers of Calais to the public projections of Krzysztof Wodiczko. An indoor space is available for student use and cooperative interaction is encouraged. Prerequisite: intermediate level work in any media or consent of instructor.	Class Number 1709	Credits 3	Department Sculpture Area of Study Community and Social Practice, Interaction and Participation, Public Space, Site, Landscape, Public Space, Site, Landscape Location 280 Building Rm 127
Figure Painting A: Multi-Level	3030 (002)	Sheridan Gustin	Fri 9:00 AM - 3:00 PM In Person
Description This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint. Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. Prerequisites Prerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030.	Class Number 1665	Credits 3	Department Painting and Drawing Area of Study Illustration, Comics and Graphic Novels Location 280 Building Rm 320
Africa and West Asia: Decolonization and Art	3031 (001)	Tina Barouti	Tues 12:15 PM - 3:00 PM All Online
Description What is artistic decolonization? How can art be used as a tool for decolonizing culture? In this course, students will explore ways of approaching these questions through specific case studies that look at artistic practices of Africa and West Asia (Middle East), particularly from the mid-twentieth century to the present. Together we will examine how colonialism affected fine arts pedagogy and the response of visual artists, both modern and contemporary, to this violent encounter. We will analyze how artists engaged with multidisciplinary networks working across ¿non-Western¿contexts to reclaim their identity from colonizers and to envision alternative futures. Students will explore how art is intertwined with socio-political issues and how it can amplify Indigenous, feminine, and queer perspectives. Each week will typically focus on an artistic group or a country-specific case study from Africa and West Asia (Middle East). There will be several guest lectures by curators, academics, and artists. Course work will include written weekly responses to assigned readings, presentations, and a final essay or exhibition project proposal. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1070	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Art/Design and Politics, Museum Studies Location Online
Fig Ptg B:The Portrait	3031 (001)	Anne Harris	Wed 9:00 AM - 3:00 PM In Person
Description This is an intermediate/advanced class that will function both as studio course and in-depth conversation. Students will work on individual projects and will participate in group critique/discussion. Skill sets will be addressed as needed (the form of the head, likeness, etc.). Through painting and drawing, we'll consider the portrait as a traditional and contemporary art form, from perceptual to conceptual to political. Questions to consider: What is a portrait today? Is it likeness? Character? Caricature? An individual presence? Must it even be figurative? We'll look at and learn from a broad range of work, from ancient to contemporary, via lectures and museum visits, including the AIC Prints and Drawings viewing room. We'll discuss hundreds of artists from prehistoric to Renaissance to modernist to contemporary--as varied as Kathe Kollwitz, Ana Mendieta, Felix Gonzalez-Torres and Nathaniel Mary Quinn. Readings and related materials are suggested when relevant (articles, interviews, Ted Talks, etc.) The first 1/3 of the course covers basic skill sets: head structure, color organization, etc. We then move into independent projects. There are regular outside assignments. Prerequisites Prerequisite: PTDW 3030.	Class Number 1637	Credits 3	Department Painting and Drawing Location 280 Building Rm 320
Without Walls - Puppetry In the Outdoors	3031 (002)	Blair Thomas	Fri 9:00 AM - 3:00 PM In Person
Description Combining both medieval and contemporary performance practices, this class probes the possibilities of object and figure theater performance in the outdoor setting. We will examine the Renaissance spectacles of Piero di Cosimo, the Eastern European Happenings, the public ceremonies of Welfare State International and the street protest of Bread & Puppet Theater. Exercises will explore the making of large-scale graphic image making, such as Cantastoria, Banners and Scrolls. Through group collaborations the class will learn giant puppet making techniques and construction. The class will culminate in an all class outdoor spectacle.	Class Number 1509	Credits 3	Department Performance Location 280 Building Rm 012
Capturing Time: The Intersection of the Cinematic and Photographic Image	3032 (001)	Monika Niwelinska	Tues 6:45 PM - 9:30 PM All Online
Description Capturing Time is an online course that allows students to explore the close connections, similarities, and differences historically associated with cinematic and photographic images. The reading, screening, and research component of the class will delve into the specific historical, theoretical, and artistic practices, as well as a technique associated with still and moving images. The studio component is designed to ignite your creativity, encouraging you to experiment, develop skills in diverse mediums, and attempt to challenge the historically separated boundaries of moving and still imagery through class readings and screenings, a research presentation, and a final project. Course assignments will include readings from cinematic and photographic historians, theorists, and contemporary artists. Class readings will include essays by Walter Benjamin, Roland Barthes, Tom Gunning, Rosalind Krauss, and Rebecca Solnit. In addition to the weekly class readings, class screenings and presentations are assigned each week to supplement and support the texts. They will include cinema, photography, and multimedia installations from Chantal Akerman, Jim Campbell, John Cage, Maya Deren, Omer Fast, Hollis Frampton, Mona Hatum, the Lumiere Brothers, Christian Marclay, Man Ray, Chris Marker, Steve McQueen, Dwayne Michaels, Tsai Ming-Liang, Eadweard Muybridge, Tony Oursler, Pipilotti Rist, Hiroshi Sugimoto, Andrei Tarkovsky, Bill Viola, Andy Warhol, Gillian Wearing and more. The online course structure will provide three tiers of interaction: student to instructor, student to student, and student to content. The primary focus of the class relies on weekly assignment-based projects, peer-to-peer feedback, and self-paced visual material that will provide examples of photographic, cinematic, and interdisciplinary artists working with digital Media in various modes of production and presentation. Historical and contemporary readings and screenings provide a conceptual framework for the course work, including weekly reading responses in an online journal, short visual exercises, a research presentation on a specific artist, and a final project. Students are expected to produce substantial photographic and moving image work. *To complete this online course, a successful student will need access to a computer, an internet connection fast enough for streaming moving image material, and a camera capable of producing still and moving images (anything between a DSLR or Mirrorless camera and a mobile phone.) Prerequisites Prerequisite: PHOTO 1001.	Class Number 1532	Credits 3	Department Photography Area of Study Digital Imaging Location Online
Alterfutures Studio	3032 (001)	Jessica Charlesworth	Wed 9:00 AM - 3:00 PM In Person
Description AlterFutures Studio is a studio course in which students question received expectations about `the future¿ and use design, writing and visualization methods to propose compelling alternatives. The course will allow students to think through, articulate, and bring to life, critical and provocative narratives for alternative futures. By studying the tools and approaches of speculative and critical design, and design fiction, alongside literary and cinematic forms of futuring, the course builds awareness in, and enables practice of, contemporary techniques used to communicate alternative futures. AlterFutures Studio will be made up of three projects to be presented in a culminating course critique with complimentary readings and discussions each focusing on a particular subject matter and approach relating to emerging technologies and potential impacts on society and culture. The works of designers and artists Dunne & Raby, Superflux, Atelier Van Lieshout, and Lucy Orta, Noam Toran, Extrapolation Factory, and Cohen Van Balen will act as primary points of reference for our explorations in this course. Students will create physical prototypes and use VR tools to develop artifacts and worlds that express their ideas.	Class Number 1272	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Art and Science Location Sullivan Center 1226
Stitch-by-Stitch: Feminism as Practice	3032 (001)	Aram Han Sifuentes	Tues 8:30 AM - 11:15 AM In Person
Description This interdisciplinary course considers the topic of craft practices and the therapeutic through the lens of feminist pedagogy, including theories of touch and interembodiment. Students will examine the critical role craft and the domestic arts have played in raising questions surrounding feminism, gender, and labor practices in everyday histories. The course examines local and international projects centering on memory, trauma and collaboration. The class will explore the ethics of community collaborations and how the practice of making can cultivate a sense of community, well-being, and social capital.	Class Number 1134	Credits 3	Department Art Therapy Area of Study Community & Social Engagement, Gender and Sexuality Location Sharp 404
Visualization and Storyboarding	3033 (001)	Shelley Lynn Dodson	Mon/Wed 6:45 PM - 9:15 PM In Person
Description This class focuses on the study of film language, shot composition and idea development for time based media. Through the creation of storyboards, animatics, mood boards, character designs, and concept development students gain a thorough understanding of how to develop their ideas in the pre-preproduction process. Students who work in film, video, performance, and animation will learn narrative and experimental methods. Practical, conceptual and artistic topics will be addressed. A variety of short films and excerpts from live action films or animations will be shown in class, like work by Brad Bird or independent filmmakers like Emma De Swaef and Marc James Roels. Reading excerpts on composition, editing and storyboarding will be assigned. Coursework may vary but typically includes drawing character designs and storyboards, making animatics and some reading through weekly or bi-weeklt assignments. The final project involves concept development and a presentation, followed by a final animatic with sound. Prerequisites Prerequisite: FVNM 2000 or FVNM 2420 or FVNM 5020	Class Number 1424	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 314
Air, Fluid and Actuators	3033 (001)	Dan Miller	Wed 9:00 AM - 3:00 PM In Person
Description This kinetics course will explore the activation of art projects with materials that flow, inflate, pump, pour and move in unique ways. Demonstrations will introduce: basic electronics, pneumatics, air-muscles, inflatables, pumps, motors, actuators and the necessary means to power these devices. This course will explore materials and their unique properties when activated by these processes. Students will learn various techniques to animate and control art projects, including the use of the Arduino micro-controller and sensors. Throughout the course, screenings and readings will introduce students to artists who work with kinetics, robotics and related fields. Artists shown and discussed in class include: Theo Jansen, Rapheal Lozano-Hemmer, Chico Mac Murtrie, Rebecca Horn. Students will be introduced to organizations, galleries and networks that support this type of art work including ARS Electronica, Rhizome and Bitforms gallery. A series of workshops and smaller assignments will expose students to the potentials of these devices and processes in art making. Next, students will develop projects that utilize one or more of the systems covered in class. Students will be guided in project proposal development where ideas will be explored in group discussions. Mechanical and electronic fabrication techniques will be further explored through project development. Completed projects will be evaluated in group critiques.	Class Number 2390	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location MacLean B1-07
Advanced Costume Design for Film and TV	3033 (001)	Bambi Deidre Breakstone	Mon 9:00 AM - 3:00 PM In Person
Description Costume design is a complex art form that requires in-depth understanding of the cultural implications of dress. The purpose of this class is to further develop the artistic and practical aspects of designing costumes, building on previous skills learned in Costume Design for Film and TV. This advanced class is for serious costume design students and will help them gain the necessary skills to find work in a professional costume department. This advanced class would give students the opportunity to delve more deeply into creating characters through script analysis and both primary and secondary research about each character to establish personality though costume. Additionally, this class would teach students practical methods of manipulating fabric to create futuristic as well as historically accurate fabric for their costume designs. Readings and screenings will vary but will include readings from the following texts; Deborah Nadoolman Landis, Filmcraft: Costume Design, Focal Press, 2012, Rosemary Ingham, Costume Designer's Handbook: A Complete Guide for Amateur and Professional Costume Designers, Prentice-Hall Books, 1983, Tan Huaixiang, Character Costume Figure Drawing, Routledge, 2018, Deborah Dryden, Fabric Painting and Dyeing for the Theatre, Heinemann Drama, 1993. *Readings chosen from The Costume Designer magazine and the Costume Designers Guild website articles And screenings of scenes from historic and futuristic films including but not limited to: Metropolis (1927), Blade Runner (1982), Dr. Strange (2016), A Boy and His Dog (1975), The Favorite (2018), Chariots of Fire (1981), and The Clockwork Orange (1971). Prerequisites Student must have completed either FASH 2032 or FASH 2002	Class Number 1370	Credits 3	Department Fashion Design Area of Study Costume Design, Illustration Location Sullivan Center 727
Visualization and Storyboarding	3033 (002)	Nick Flaherty	Mon 9:00 AM - 3:00 PM In Person
Description This class focuses on the study of film language, shot composition and idea development for time based media. Through the creation of storyboards, animatics, mood boards, character designs, and concept development students gain a thorough understanding of how to develop their ideas in the pre-preproduction process. Students who work in film, video, performance, and animation will learn narrative and experimental methods. Practical, conceptual and artistic topics will be addressed. A variety of short films and excerpts from live action films or animations will be shown in class, like work by Brad Bird or independent filmmakers like Emma De Swaef and Marc James Roels. Reading excerpts on composition, editing and storyboarding will be assigned. Coursework may vary but typically includes drawing character designs and storyboards, making animatics and some reading through weekly or bi-weeklt assignments. The final project involves concept development and a presentation, followed by a final animatic with sound. Prerequisites Prerequisite: FVNM 2000 or FVNM 2420 or FVNM 5020	Class Number 1444	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 314
The Hook: Anatomy of a Comic Book Cover	3034 (001)	Dijana Granov	Wed 9:00 AM - 3:00 PM In Person
Description First impressions are everything when it comes to comic books. The goal of this course is to understand, and create comic book covers with confidence and understanding of one's audience. The class is divided into five distinct projects, studying and creating different types of covers, from single figure dominance to wrap around covers with multiple figures and full backgrounds. A variety of media are explored and used to finish the covers. Prerequisites Prerequisite: FASH 2007	Class Number 1371	Credits 3	Department Fashion Design Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location Sullivan Center 734
Multiples Studio	3034 (001)	Jess Giffin	Wed 9:00 AM - 3:00 PM In Person
Description This interdisciplinary studio class investigates the intersection of printmedia, artists? multiples and packaging as an entry point into making and thinking about multiples as a format for studio production. The history of artists? multiples (loosely defined as small-scale editioned or multiply produced three-dimensional works) includes many examples that use, or appropriate, printed elements and packaging in some way. This history, along with our daily experience of packaging (the many boxes, folders, labels, pamphlets, flyers and cartons found in nearly every aspect of contemporary life) offers a wealth of connections to consider and work from. Students will be introduced to a range of printing and paper construction techniques within the Printmedia studio. These include plate-based lithography (with hand-drawn, digital and photo options) and pattern layout for packaging along with other selected tools and techniques. In addition, students will have the opportunity to use SAIC labs such as the Service Bureau and digital fabrication centers. Examples, short readings, and a visit to the Joan Flasch or other related collections will support project development and discussion. Students can expect to complete three to five projects and participate in two critiques.	Class Number 2080	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location 280 Building Rm 221
Multiples Studio	3034 (001)	Jess Giffin	Wed 9:00 AM - 3:00 PM In Person
Description This interdisciplinary studio class investigates the intersection of printmedia, artists? multiples and packaging as an entry point into making and thinking about multiples as a format for studio production. The history of artists? multiples (loosely defined as small-scale editioned or multiply produced three-dimensional works) includes many examples that use, or appropriate, printed elements and packaging in some way. This history, along with our daily experience of packaging (the many boxes, folders, labels, pamphlets, flyers and cartons found in nearly every aspect of contemporary life) offers a wealth of connections to consider and work from. Students will be introduced to a range of printing and paper construction techniques within the Printmedia studio. These include plate-based lithography (with hand-drawn, digital and photo options) and pattern layout for packaging along with other selected tools and techniques. In addition, students will have the opportunity to use SAIC labs such as the Service Bureau and digital fabrication centers. Examples, short readings, and a visit to the Joan Flasch or other related collections will support project development and discussion. Students can expect to complete three to five projects and participate in two critiques.	Class Number 1554	Credits 3	Department Printmedia Area of Study Product Design Location 280 Building Rm 221
Top: Drawing on Clay	3035 (001)	Salvador Jiménez-Flores	Tues 9:00 AM - 3:00 PM In Person
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
Computer Imaging for Fashion Design	3035 (001)	Donald Yoshida	Mon 9:00 AM - 3:00 PM In Person
Description In this class students learn necessary computer tools to enhance their fashion designs. This class gives students an additional medium to push and refine their designs; additionally, it prepares students for industry work. Students learn on an Adobe platform, which offers in-depth tools for 2D design. Knowledge of the basic Adobe tools enables students to transition into other illustrating platforms they may encounter in the future. Projects include translating hand-drawn designs into computer drawings, creating full designs on the computer, scanning and masking prints, creating prints, creating lay-out, presentation, flat drawing, and more. Prerequisites Student must have completed any 2000 Level FASH course	Class Number 1365	Credits 3	Department Fashion Design Area of Study Digital Communication, Illustration, Digital Imaging Location MacLean 908
Top: Mystical Ceramics	3035 (002)	Sonya Bogdanova	Tues 3:30 PM - 9:15 PM In Person
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
Top: Rethink, Reuse and Recycle Ceramics	3035 (003)	Marie Herwald Hermann	Thurs 9:00 AM - 3:00 PM In Person
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
3D Character Animation	3036 (001)	Nick Flaherty	Wed 9:00 AM - 3:00 PM In Person
Description In this course, students will use 3D software to animate characters for narrative and non narrative films. Lectures and discussions will focus on both traditional and less-than-traditional 3D character pipeline with a strong emphasis on Character and Acting. Screenings will include a variety of films utilizing 3D character and puppet animation, especially those with exceptional use of personality and performance. Filmmakers screened include: Aaron and Amanda Kopp; Géraldine Gaston; Nikita Diakur. After a brief introduction to the fundamentals of the software (Maya), students will work on multiple short projects designed to develop skills as 3D character animators including those pushing strong animation mechanics and dialogue. These early animations will be critiqued rigorously. Projects will engage students as animators and actors, and will include a final project that focuses on creating engaging animation for a longer piece. Prerequisites Prerequisite: FVNM 2015	Class Number 1443	Credits 3	Department Film, Video, New Media, and Animation Area of Study Game Design, Digital Imaging, Comics and Graphic Novels, Animation Location MacLean 819
Cloth at Scale	3036 (001)	Danielle Andress, Emily Winter	Fri 9:00 AM - 3:00 PM In Person
Description This intensive studio course focuses on planning, experimentation, and production of woven works on traditional floor looms, computer-interfaced looms, and semi-industrial Dobby looms housed between the weaving studios in Fiber and Material Studies and The Weaving Mill (TWM), an artist-run industrial weaving studio in Humboldt Park which blends design, production, textile education and research-based practice. This course introduces students to experimental weaving designs, unconventional methods and materials, and the opportunity to produce their ideas at scale with access to the fully mechanized Dobby looms at The Weaving Mill. Students will engage in rigorous studio practices, material culture research, and practical applications of their work. While conceptual questions around making will be central to the coursework, students will also be supported in identifying and researching the socio-economic and political ramifications of working in the language of woven cloth. Readings may include works by Hito Steryl, Rosalind Krauss, Jen Hewett, Anni Albers, T¿ai Smith, Peter Stallybrass, Karl Marx. Over the course of the semester, students will produce a range of individually-motivated woven samples and studies, eventually working within the production parameters of the industrial looms at TWM to design and produce yardage for installation, object design, and artists¿ projects. Additionally, students will work alongside members of the W.E.F.T. program, a textile studio for adults with developmental disabilities run by TWM, broadening discussions around labor, value, ability and access	Class Number 2140	Credits 3	Department Fiber and Material Studies Area of Study Community & Social Engagement, Art/Design and Politics, Sustainable Design Location Sharp 1011
Cloth at Scale	3036 (001)	Danielle Andress, Emily Winter	Fri 9:00 AM - 3:00 PM In Person
Description This intensive studio course focuses on planning, experimentation, and production of woven works on traditional floor looms, computer-interfaced looms, and semi-industrial Dobby looms housed between the weaving studios in Fiber and Material Studies and The Weaving Mill (TWM), an artist-run industrial weaving studio in Humboldt Park which blends design, production, textile education and research-based practice. This course introduces students to experimental weaving designs, unconventional methods and materials, and the opportunity to produce their ideas at scale with access to the fully mechanized Dobby looms at The Weaving Mill. Students will engage in rigorous studio practices, material culture research, and practical applications of their work. While conceptual questions around making will be central to the coursework, students will also be supported in identifying and researching the socio-economic and political ramifications of working in the language of woven cloth. Readings may include works by Hito Steryl, Rosalind Krauss, Jen Hewett, Anni Albers, T¿ai Smith, Peter Stallybrass, Karl Marx. Over the course of the semester, students will produce a range of individually-motivated woven samples and studies, eventually working within the production parameters of the industrial looms at TWM to design and produce yardage for installation, object design, and artists¿ projects. Additionally, students will work alongside members of the W.E.F.T. program, a textile studio for adults with developmental disabilities run by TWM, broadening discussions around labor, value, ability and access	Class Number 2140	Credits 3	Department Fiber and Material Studies Area of Study Community & Social Engagement, Art/Design and Politics, Sustainable Design Location Sharp 1011
Sculptural Basket Weaving	3037 (001)	Kate Smith	Thurs 9:00 AM - 3:00 PM In Person
Description In this studio course students will explore basket weaving techniques and their interconnectedness to the history and traditions of the craft. The class will utilize both traditional and non-traditional methods and materials to investigate new ways of creative expression while carrying the long, multi-cultural basket weaving tradition. Readings may include Revered Vessels: Custom and Innovation in Harari Basketry and Hybrid Basketry: Interweaving Digital Practice within Contemporary Craft. Students will be introduced to Native North American basket weaving and the ancient baskets of both Egypt and Israel to bring an understanding of the contemporary craft through its historical origins. Artists such as Hayakawa Shokosai, the Campana Brothers, and Ruth Asawa will be a point of reference for the class as a way to connect their own conceptual framework to this traditionally utilitarian craft. Students should expect to produce a variety of technique-based samples as well as a midterm and a final culminating project. This course requires an artist presentation and assigned readings. Students will reflect on the readings with written responses to connect contemporary works with historical craft.	Class Number 1411	Credits 3	Department Fiber and Material Studies Area of Study Art/Design and Politics Location Sharp 902
Introduction to Computer Vision	3039 (001)	Douglas Rosman	Wed 9:00 AM - 3:00 PM In Person
Description Computer vision allows machines to see and understand their environment. This course will equip students with the practical skills and critical theory needed to both employ and critically engage these techniques. Real-time body tracking, facial recognition and gesture analysis using RGB+D and LiDAR sensors, artificial intelligence and machine learning will be emphasized. Students will explore and critique contemporary applications ranging from automated mass surveillance to interactive installations. A final project will build on in-class workshops, technical exercises, critical readings and discussions.	Class Number 1114	Credits 3	Department Art & Technology / Sound Practices Location MacLean 401
Expanded Line	3039 (001)	Jonas Müller-Ahlheim, Camille Casemier Johnson	Sat 10:00 AM - 4:00 PM In Person
Description The course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We will be exploring performance through drawing: drawing as a description, a medium, and a score for an embodied gesture. We will use drawing to imagine movement and to move concepts, in which drawing can act as tracing and foreseeing. Performances become descriptions and embodied drawings and vice versa. We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as mark making and thinking process. We will look at artists like Sol Lewitt, Lygia Pape, Monica Baer, among other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown; Artists in conversations such as Paul Chan and Martha Rosler, Devin T. Mays and David Schutter, John Baldessari and Paul Thek, Matthew Goulish and Lin Hixson. We will work through texts like Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene by Donna Haraway, and 'White Elephant Art vs Termite Art' by Manny Farber. Working in and with public space as surface, students should expect to create traditional and non-traditional drawings and performances, blurring the line of traditional drawing material and embodied practice. Performance will be approachable, self determined, nothing more or less than walking if you so choose. Students will produce a final show at No Nation.	Class Number 2338	Credits 3	Department Performance Area of Study Community & Social Engagement, Public Space, Site, Landscape Location 280 Building Rm 012
Performing Objects	3039 (001)	Jefferson Pinder	Wed 9:00 AM - 3:00 PM In Person
Description This studio course explores the 'performing object' in contemporary, avant-garde, and traditional sculpture, installation, performance, and theater. Through experimentation and critical discussion, issues specific to performance art, puppetry, mask and street theater are probed, including: material, movement, sound, text, spectacle, scale, environment, and relationships among performer, puppet, and audience. In addition to in-class exercises, students build and perform a newly conceived, object-based performance piece.	Class Number 1712	Credits 3	Department Sculpture Area of Study Animation Location 280 Building Rm 127
Expanded Line	3039 (001)	Jonas Müller-Ahlheim, Camille Casemier Johnson	Sat 10:00 AM - 4:00 PM In Person
Description The course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We will be exploring performance through drawing: drawing as a description, a medium, and a score for an embodied gesture. We will use drawing to imagine movement and to move concepts, in which drawing can act as tracing and foreseeing. Performances become descriptions and embodied drawings and vice versa. We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as mark making and thinking process. We will look at artists like Sol Lewitt, Lygia Pape, Monica Baer, among other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown; Artists in conversations such as Paul Chan and Martha Rosler, Devin T. Mays and David Schutter, John Baldessari and Paul Thek, Matthew Goulish and Lin Hixson. We will work through texts like Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene by Donna Haraway, and 'White Elephant Art vs Termite Art' by Manny Farber. Working in and with public space as surface, students should expect to create traditional and non-traditional drawings and performances, blurring the line of traditional drawing material and embodied practice. Performance will be approachable, self determined, nothing more or less than walking if you so choose. Students will produce a final show at No Nation.	Class Number 2338	Credits 3	Department Performance Area of Study Community & Social Engagement, Public Space, Site, Landscape Location 280 Building Rm 012
Screen: Reprod/Represent	3040 (001)	Peter Power	Mon 9:00 AM - 3:00 PM In Person
Description Students will be asked to respond through screenprinted work in a variety of formats, to art works, of their choice, in the museum collection. Reproductions of, re-representation of and re-evaluation of known works will encourage students to critically engage the museums collection while developing their own studio vocabulary and technical abilities.	Class Number 1548	Credits 3	Department Printmedia Location 280 Building Rm 222
Deep Fried: dyeing to weave	3041 (001)	Danielle Andress	Tues 9:00 AM - 3:00 PM In Person
Description This course explores traditional and unconventional dyeing processes as the starting point for woven projects and is open to all levels of weavers and dyers. Students will dye yarn and pliable materials while learning techniques such as; warp and weft painting, ikat, and immersive dyeing as critical steps for color-driven loom weaving. This course includes the use of chemical acid and fiber reactive dyes as well as foundational, 4-harness weaving approaches. Each student will work on a dedicated 4-harness table top loom and be guided in planning and winding warps, dressing looms, and executing select weaving drafts. Traditional dyeing in woven structures will be examined through works by foundational weavers such as; Lee ShinJa, Lenore Tawney, and Rowland Ricketts. The conversation will expand to include contemporary and experimental artists using linear-based dyeing techniques; Lena Kolb, Melissa Cody, Thúóng Hoài Trân, TIGRA TIGRA, Terri Friedman, and Diedrick Brackens. Studio coursework will be augmented with texts considering the histories of dyeing and weaving practices, the politics of materials, and textile/fiber based critical theory. The course structure includes weekly studio assignments, reading, research presentations, workshops, and several extended individually focused projects to be presented in class critiques.	Class Number 2395	Credits 3	Department Fiber and Material Studies Area of Study Class, Race, Ethnicity, Economic Inequality & Class, Art/Design and Politics Location Sharp 904
Deep Risography	3042 (001)	Conor Stechschulte	Tues 9:00 AM - 3:00 PM In Person
Description In the last twenty years, the Risograph machine has become a powerful tool in the hands of artists and self-publishers. Students in this course will learn advanced methods of printing, spot color layering and color-separation along with becoming immersed in the rich global culture of RIsograph printing and publishing. The class will consist of demonstrations, lectures and presentations on current Risograph practitioners, visits with artists and publishers, trips to school collections and the prodigious production of strange and beautiful printed objects. Lectures and readings may include the work of artists Sigrid Calon, Lale Westvind, Joe Kessler, and the publishers Colorama, Perfectly Acceptable, Colour Code, The Charles Nypels Lab, Animal Press, Tan and Loose, and others. Students will be expected to produce 3-4 projects demonstrating technical proficiency and contextual grounding. These projects will be refined during regular one-on-one meetings and discussed in three group critiques. The course will culminate in a show of student work.	Class Number 1556	Credits 3	Department Printmedia Location 280 Building Rm 220
Contextualizing Textiles	3043 (001)	Jerry Bleem	Mon 12:15 PM - 3:00 PM In Person
Description This research studio will use the collection of the SAIC Textile Resource Center (TRC) as material for research and studio work. Textiles are rooted in complex and fascinating global histories and contexts, and the class invites students to investigate them through research, personal and familial experiences, and sharing knowledge. Relying on the TRC's collection of over 600 textile objects and 2,000 books, students will begin by examining an object or group of objects to learn more about their contexts, cultures, materials, processes, uses, stories, and ancestries. Filters that might be used to consider these textiles include agriculture, industry, cultural identity and expression, commerce, capitalism, colonialism, anthropology, inventions and tourism. Guided personal inquiry via research and production will shape the course. Readings and discussions will acquaint students with various methodologies to help uncover their meanings and stories. Formal class meetings will be augmented with individual meetings with the instructor, and the director of the Textile Resource Center. Students will create studio work in response to the objects under study, rooted in the students¿ studio interests and practices. Students will also share their research and investigations in assignments including discussions and presentations. Prerequisites Prerequisite: Sophomore-level or above.	Class Number 2393	Credits 3	Department Fiber and Material Studies Area of Study Class, Race, Ethnicity, Art/Design and Politics, Museum Studies Location Sharp 1005
Lithography: Expanded Practice	3044 (001)		Fri 9:00 AM - 3:00 PM In Person
Description This intermediate studio will explore Lithography as an expanded practice for creating fine art prints that are both innovative and experimental. The course will focus on both individual and collaborative projects to expand the notions and practice of traditional lithography by combining it with other artistic practices. Students will be introduced with advanced printing processes including multi-color printing using stone and aluminum plate, photo and wood lithography, and monotype/monoprints. Use of laser and vinyl cutters to combine with traditional lithography will also be explored.	Class Number 1552	Credits 3	Department Printmedia Location 280 Building Rm 221
Interface and Structure: Web Design	3045 (001)	Mark Stammers	Thurs 9:00 AM - 3:00 PM In Person
Description HTML defines the structure of a web page, while CSS lends style by controlling the presentation of elements. This online course caters to students with little or no prior coding experience. Through hands-on coding modules, students will use a text editing program to acquire proficiency in standards-compliant HTML and CSS. A strong emphasis on redundancy will ensure that coding concepts are fully understood and best practices reinforced. Students will undertake research, design, and coding tasks to create a fully functional, responsive website. With a solid understanding of HTML and CSS, students will explore opportunities to develop dynamic web pages that adapt seamlessly to different devices and screen sizes. Additionally, students will investigate interface possibilities, evaluate site navigation opportunities, and analyze the effectiveness of various page structures in communicating information effectively and efficiently. There are no prerequisites for this course. Prerequisites Prerequisite: Student must pass VISCOM Portfolio Review, please message VISCOM for more details on portfolio reviews	Class Number 1804	Credits 3	Department Visual Communication Design Area of Study Social Media and the Web Location Sharp 1108
Hacking the Object	3045 (001)	Joseph Michael Kramer	Fri 9:00 AM - 3:00 PM In Person
Description DIY has become a widespread movement in the artistic community. Modifying, tinkering, tweaking and downright hijacking have become a commonplace practice among today?s artists. Many everyday electronic objects are yearning to be liberated from their banal existences. This course explores readily available materials with a goal of bringing out the hidden aesthetic potentials of electronic devices. Students dig beneath the shiny surfaces to uncover underlying workings, principles and mechanisms. Class projects result in new artworks by reanimating the physical presences and behaviors of the reassembled artifact.	Class Number 1120	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location MacLean B1-07
Tableau Vivant: From Costume Design to Performance Art	3045 (001)		Thurs 9:00 AM - 3:00 PM In Person
Description In this class students will explore the connections between fashion, costume and performance. Students will research works from the museum and use this to develop individual costumes. Alternative methods of garment construction as well as established and historical methods will be used. Focusing on four elements: time, space, the performer's body, and costume, students work both within and between the areas of fashion, costume and performance art.	Class Number 2388	Credits 3	Department Fashion Design Location Sullivan Center 702
Knitworks: Sustainability & Community	3045 (001)	Jennifer Michelle Plumridge	Wed 9:00 AM - 3:00 PM In Person
Description This course teaches students hand and machine knitting with an emphasis on sustainable materials and practices. Themes of waste, re-use, recycling, and the redesign of pliable materials will serve as foundational concepts around which students will center their making. Students will learn hand and machine knitting techniques, how to read and write knit and pattern languages, steeking, unraveling existing knits, rehanging yarn to reclaim fiber, needle felting for knits, crochet, crewel work, and hand-stitching techniques. Historic and contemporary knits will be encountered through visits to SAIC¿s Textile Resource Center and the Art Institute of Chicago¿s Textile collection. Artists presented in relation to public action, community building, and sustainable studio practices include the works of Magda Sayeg, Ernesto Neto, Wells Chandler, Jesse Harrod, and Orly Genger. Class discussions will address texts by Alden Wicker and Rebecca Burgess, and consider local and global community fiber/textiles programs in relation to environmentalism. Assignments include readings, media viewing, discussions, explorations of knit stitches, and midterm and final studio assignments. Students will use existing and alternative raw goods and pliable materials, re-engineering them to create a range of project outcomes including 2-D and 3-D works, installations, performances and public actions.	Class Number 2392	Credits 3	Department Fiber and Material Studies Area of Study Community & Social Engagement, Art/Design and Politics, Sustainable Design Location Sharp 902
Shaping Light	3048 (001)	Gregory Mowery	Fri 9:00 AM - 3:00 PM In Person
Description Light is a material that can be shaped to express ideas, create experiences and increase the communicative potential of objects and spaces. Through a combination of lectures, demos, fields trips and most of all, hands-on lab work, students develop a degree of self sufficiency in the design, construction and prototyping of illuminated objects, physical graphics and environmental lighting. Students learn basic electronic and electrical circuit design, lamp specification and experiment with illumination technologies including incandescent, LED and cold cathode (neon).	Class Number 1113	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science, Public Space, Site, Landscape Location MacLean B1-16
Shaping Light	3048 (001)	Gregory Mowery	Fri 9:00 AM - 3:00 PM In Person
Description Light is a material that can be shaped to express ideas, create experiences and increase the communicative potential of objects and spaces. Through a combination of lectures, demos, fields trips and most of all, hands-on lab work, students develop a degree of self sufficiency in the design, construction and prototyping of illuminated objects, physical graphics and environmental lighting. Students learn basic electronic and electrical circuit design, lamp specification and experiment with illumination technologies including incandescent, LED and cold cathode (neon).	Class Number 1278	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Art and Science, Public Space, Site, Landscape Location MacLean B1-16
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 1608	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Painting Materials and Techniques I	3050 (001)	Josh Dihle	Wed 9:00 AM - 3:00 PM In Person
Description This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1622	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Participatory Art	3050 (001)	Kamau A. Patton	Tues 12:15 PM - 3:00 PM In Person
Description Please see topic description for more information.	Class Number 2211	Credits 3	Department Visual and Critical Studies Location MacLean 517
Painting Materials and Techniques I	3050 (002)	Richard Deutsch	Thurs 9:00 AM - 3:00 PM In Person
Description This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1623	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Painting Materials and Techniques II	3051 (001)	Frank Piatek	Fri 9:00 AM - 3:00 PM In Person
Description This course is the second part of a two-semester sequence. The first semester presents the full array of materials used in painting with an introduction to some study of methods of construction. This course puts those materials to use and carries forward the study of methods and strategies of construction, beginning with Flemish and Venetian painters and carrying through late twentieth-century painting. The subject of painting is studied from the viewpoint of the language of material and process. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1624	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Programming for Sound: Max for Live	3051 (001)	Shawn Decker	Thurs 8:30 AM - 11:15 AM In Person
Description This online version of The Programming Sound class will feature an introduction to various synthesis methods, tracing the history of sound synthesis, starting with traditional analog synthesis techniques and methodologies, and then moving to a history of digital sound synthesis techniques. The class will review the histories surrounding sound synthesis, and students will learn various software and hardware techniques and pursue a number of creative projects. These projects will retrace the development of these important techniques and their aesthetic and compositional potential in a series of smaller creative projects, concluding with a more substantial final project. The class will make use of various software including Max/MSP as well as Ableton Live, and will feature various software synthesis plugins that will allow students to engage with the various techniques being discussed. Students are required to have a laptop that can run Max/Msp and Ableton Live, and a good set of headphones or a stereo monitoring system. Software licenses will be supplied to students who need them. Prerequisites Prerequisite: SOUND 2001.	Class Number 1761	Credits 3	Department Art & Technology / Sound Practices Area of Study Art and Science Location MacLean 522
Adventures in Self-Publishing	3053 (001)	Conor Stechschulte	Mon 9:00 AM - 3:00 PM In Person
Description This course introduces students to the use of RISOgraph image duplication as a creative, independent publishing tool. Attention will be paid to ways artists' publishing has publishing has been used to bypass traditional cultural and institutional gatekeepers, to foster community, as well as the distribution of independent ideas and content. Studio work will be supplemented with readings, visits to SAIC special collections and class discussion addressing contemporary and modern artists. Studio experimentation and research will be encouraged.	Class Number 2340	Credits 3	Department Printmedia Area of Study Comics and Graphic Novels, Books and Publishing Location 280 Building Rm 220
Figure It Out: Sculpture and Bodies	3056 (001)	Mindy Rose Schwartz	Tues 9:00 AM - 3:00 PM In Person
Description The figure in contemporary art has long been debated, but just as painting never died as forecasted so, too, the figure. It has morphed, become cyber, stayed representational, been found in the world and fashioned of any medium, while dissolving the line between it and abstraction, making it permeable and evocative. In this course students will be challenged to redefine the boundaries of traditional sculptural representation using the figure as a catalyst for evoking a range of content. We will consider human and animal bodies broadly, as cultural, historical, and constantly changing entities. Through an examination of diverse approaches related to figurative sculpture, students will be encouraged to engage with a variety of sculptural processes and media (such as assemblage, mold making, modeling, carving, welding, mixed media, fund object) to configure forms, as well as and conceptual frameworks in order to articulate personal and social narratives, and cultural critiques. Addressing a range of cultures and historical periods, our inquiry will focus on: To what ends has the figure been employed (portraiture, faith, identity, gesture, embodiment, fragment, ritual, allegory, affect)? How does a work refer to without fully representing the figure? Why has it been an enduring subject/form? What are challenges and opportunities does it offer us today? Our inquiry will be guided by readings (Gordon Hall, Elizabeth Grosz, Katarzyna Trzeciak, Elaine Scarry, Sara Ahmed, and others) and viewing/museum visits of such artists as Jaime Isenstein, Franz Xaver Messerschmidt, Simone Fattal, Sarah Peters, Hew Locke, Rachel Harrison, Nicole Eisenman, Anna Mendieta, Yinka Shonibare, Simone Leigh, Kiki Smith, Magdalena Abakanowicz, Wangechi Mutu, Louise Bourgeois, Thomas Houseago, Kimsooja, David Altmejd, Lee Bul and Cajsa von Zeipel. Course work includes assignments, readings and in class activities that support the development of three finished projects for critique. Prerequisites Prerequisite: SCULP 1101 or SCULP 2001	Class Number 2101	Credits 3	Department Sculpture Area of Study Class, Race, Ethnicity, Gender and Sexuality Location 280 Building Rm 023
Moldmaking: Replication and Translation	3057 (001)	Stephen Reber	Mon 9:00 AM - 3:00 PM In Person
Description This course is designed for students who have prior moldmaking and casting experience. Students investigate in-depth project development, implementing and articulating ideas through class discussions and proposals. This course also aims to offer a deeper understanding of the social, historical, and aesthetic implications of replication. Such subjects as the instability and significance of object/material relationships, and the complex and expansive nature between the authentic, the surrogate, and the copy are explored.	Class Number 1713	Credits 3	Department Sculpture Location 280 Building Rm 030
Deep Surface	3059 (001)	Josh Dihle	Mon 9:00 AM - 3:00 PM In Person
Description In this materially-oriented multi-level studio course, students will expose the possibilities beneath, within, and above the painting surface. Students will learn both archival and experimental strategies for making work that upsets distinctions between image and object. Through demonstrations and open-ended assignments, students will learn impasto painting techniques, adhesives, sculptural surface construction, wood relief carving, embedding, and alternative materials. Deep Surface will give students the opportunity to explore juicy facture, heavy-duty mediums, extraction tools, image excavation, and extravagant adornment. We will narrow the gap between painting and sculpture. In support of these efforts, course readings will include Hamza Walker, Annie Albers, and Tatiana Berg. Readings and discussions will compliment slide talks, demonstrations, and critiques. We will look at artwork hailing from a wide swath of histories and world cultures, including 20th Century African American folk art, ancient Greek and Mesopotamian relief carving, Medieval and early Renaissance painting, and a range of contemporary painting-sculpture hybrid practices. Students will produce artworks using a range of materials and technical processes that bridge the divide between painting and sculpture. A total of at least seven completed paintings are due during the semester. Prerequisites Prerequisite: PTDW 2001.	Class Number 2247	Credits 3	Department Painting and Drawing Area of Study Art and Science Location 280 Building Rm 311
Metalsmithing: From Alloy to Adornment	3059 (001)	Jakki Servidio	Thurs 3:30 PM - 9:15 PM In Person
Description In this course, students will explore the art and craft of working with various soft metals, such as brass, bronze, copper, and silver. The curriculum covers a wide range of techniques such as soldering, forming, and centrifugal casting, enabling students to manipulate and shape metal into intricate forms. Utilizing a combination of hand tools and specialized equipment, students will learn to transform raw metal materials into functional and decorative objects. Emphasis will be placed on artistry and craftsmanship, with students developing their unique designs. This course bridges traditional practices with modern innovations, offering a comprehensive understanding of this ancient yet continually evolving art form. Readings will explore topics of the historic metal eras including the Bronze and Iron Age, The Forge and the Crucible by Mircea Eliade, Metalworking Through History: A Modern Encyclopedia by Ana M. Lopez, Alchemy + Mysticism by Alexander Roob, A History Of Metallography: The Development Of Ideas On The Structure Of Metals Before 1890 by Cyril Stanley Smith, and The Secrets of Metals by Wilhelm Pelikan. Some contemporary metalsmith artists will be studied such as Michele Oka Doner. This class will also include a variety of handouts from the Metal Smith Society to demonstrate specific metal smithing techniques and tools. We will have a midterm critique to review progress and then students should expect to produce a body of work consisting of 3-5 finished pieces during the semester.	Class Number 2397	Credits 3	Department Sculpture Area of Study Costume Design, Product Design, Furniture Design Location 280 Building Rm 028
Art and the Spiritual	3060 (001)	Frank Piatek	Thurs, Thurs 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description This is a studio course with accompanying lectures working from a basis in the sacred, spiritual, and visionary traditions of art making. Its purpose is to assist and facilitate the students' encounters and explorations of these forms, whether representational or abstract, and to discuss the work created. This course consists of studio work, lectures, visiting artists, students' readings, visual research, journal work, and a final presentation. Prerequisites Prerequisite: PTDW 1101, 2001, 2004 or PTDW 3003	Class Number 1625	Credits 3	Department Painting and Drawing Area of Study Community & Social Engagement Location 280 Building Rm 325, 280 Building Rm 123
CNC Fabrication Techniques	3060 (001)	Luis Rodriguez Rosario	Sat 10:00 AM - 4:00 PM In Person
Description Digital output has revolutionized the way we conceive of making. This course explores ways of integrating the CNC (Computer Numeric Control) milling machine into art/design fabrication processes. Enabled by 3D modeling the class explores how and when to utilize the CNC machine in addition to more traditional approaches to making. This class consists of demonstration, discussion, and open shop time to develop CNC based projects. We discuss CNC technology and tooling, materials, as well as the aesthetic of CNC output. This project-based course develops CNC proficiency, and will enable students' ability to design for digital output. Due to the learning curve necessary to effectively utilize the CNC, this course (or AIADO 5004 ) will serve as a prerequisite to access the CNC. Rhino is our primary interface for CNC output and RhinoCam is utilized for tool-path generation. This course requires students to have a laptop that meets SAIC's minimum hardware specs and runs the AIADO template. Current industrial applications of CNC production will be discussed as well as other resources that can be utilized in conjunction with the CNC mill. The beginning exercises introduce students to the various milling types. Later projects allow the exploration of form development through prototyping. A final project incorporates the CNC mill into student's working practice. Prerequisites Prerequisite: DES OB 2124 or DES OB 2126 or AIA 3917	Class Number 1264	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Product Design Location Sullivan Center 1242
Twist and Rout	3060 (001)	Paul Martin	Wed 9:00 AM - 3:00 PM In Person
Description The history and techniques of bending and shaping wood are explored, from the stage coach wheel to the sculptures of Martin Puryear, from the cambered truss to the violin. Projects include a variety of practices such as laminate bending, form fashioning, steam bending, and vacuum pressing.	Class Number 1705	Credits 3	Department Sculpture Area of Study Furniture Design Location 280 Building Rm 023
Technical Studies:Glaze	3061 (001)	Mie Kongo	Fri 9:00 AM - 3:00 PM In Person
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
Metalworks	3063 (001)	Dan Price	Tues 9:00 AM - 3:00 PM In Person
Description Metalworks is a let¿s-get-to-basics class for working with steel. Join the class to learn basic metal fabrication, including: cutting, forming, forging, welding and finishing. This class will guide you as you build your projects in steel. You¿ll learn about structural systems and histories relevant to art and design with an emphasis on techniques and methodologies relevant to metalwork. You will integrate your learning to produce a set of finished works using historic and contemporary technologies. If it¿s metal, It¿s here. Designing, Fabricating, Forging, Finishing. Make it in metal. Prerequisites Prerequisite: SCULP 1101 or SCULP 2001	Class Number 1722	Credits 3	Department Sculpture Area of Study Digital Fabrication Location 280 Building Rm 127
Lighting & Cinematography	3070 (001)	Meredith Zielke	Tues 9:00 AM - 3:00 PM In Person
Description This is an intensive studio course for advanced students of film/video to explore the creative uses of light in their projects. Through the examination of cinematographic approaches across the various genres including narrative, experimental, and documentary, students apply advanced techniques of lighting and composition to their work. Emphasis is placed on the changing role of the cinematographer in the world of digital media. Prerequisites Prerequisite: FVNM 2004 & FVNM 2005 or FVNM 3003 or FVNM 5020	Class Number 1441	Credits 3	Department Film, Video, New Media, and Animation Area of Study Playwriting/Screenwriting, Animation Location MacLean 1304
Alternative Image Capture	3075 (001)	William Harper	Fri 9:00 AM - 3:00 PM In Person
Description Alternative Image Capture investigates emerging imaging technology. AI image making and animation, 3D Camera, monitor and projection systems, action cameras, trail cams, IP equipped video, smart phone, infrared, thermal, and DSLR cameras will be used to collect primary images, video and audio material. Further exploration will include methods of processing and distribution of still and animated imagery. The ultimate shape of the course will be informed by breaking technology and the interests of the students in the class.	Class Number 1108	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Imaging Location MacLean 401
Permanence and Ephemerality	3076 (001)	Stephanie Brooks	Fri 9:00 AM - 3:00 PM In Person
Description This studio course explores the multiplicity of meanings inherent in the objectness of sculpture practices. Our weekly classes address such issues as monuments, earthworks, and performance; history and temporality; materiality and dematerialization; research, manufacturing, and consumption; tensions and connections between sculpture, architecture, and designed objects; and the ways new media, especially the internet and other virtual sites, alter our notions of the permanent and the ephemeral. Each week we'll discuss readings from contemporary and art historical texts and critique student work. Students will be given assignments and projects to be completed and critiqued throughout the semester.	Class Number 1724	Credits 3	Department Sculpture Location 280 Building Rm 015
Sculpture: Multi-Level Projects	3085 (001)	Lan Tuazon	Thurs 9:00 AM - 3:00 PM In Person
Description This course provides students with a semester-long concentration on a sculptural project of their own choosing. Students are encouraged to focus on a cohesive body of work that shares a material or conceptual framework. Multiple individual critiques will enhance their ability to identify, develop and clearly express their artistic intentions. Image and video presentations will expand students' familiarity with a range of sculpture practices. Individual research methodologies are emphasized and structured to take advantage of the institution's resources. Class discussion of contemporary sculpture and theory will underscore students? understanding of the social production of meaning and help them to contextualize their work. Prerequisites Prerequisite: SCULP 1101 or SCULP 2001	Class Number 1715	Credits 3	Department Sculpture Location 280 Building Rm 023
Synthetic Futures: Biodesign Challenge	3090 (001)	Andrew H. Scarpelli	Fri, Fri 9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM In Person
Description In this course we will work in collaborative teams to produce projects to enter the first annual Biodesign Challenge, a competition to envision the future of synthetic biology. Synthetic biology is the design and construction of life itself; the engineering of living organisms as biological machines. The field consists of scientists, industries, artists, and citizens using known fundamentals governing how biology works on a submicro-level in order to create meaningful alterations to how life functions. This hybrid studio/science course will introduce students to the theory and techniques of microbial genetic engineering while placing it in a larger cultural, ethical and artistic context. Students will learn and explore the basics of biology of all living organisms with an emphasis on single celled organisms, supported by lab work with bacterial cultures, DNA extraction and manipulation, polymerase chain reaction and gel electrophoresis. Fluency with these lab techniques will enable critical consideration of research and experimentation in biological science and in art and design. Studio projects will focus on designing systems and experiments to utilize this technology conceptually and creatively. The course will culminate in a design summit in New York City, an exhibition of winning projects, and a publication in print and online.	Class Number 1122	Credits 3	Department Art & Technology / Sound Practices Area of Study Politics and Activisms, Art and Science, Collaboration, Sustainable Design Location MacLean 414, Michigan B1-19
The Forms of Beauty Past: Historical European Fashions	3098 (001)	Caroline Marie Bellios, Gerry Quinton	Sat, Sat 10:00 AM - 12:15 PM, 10:00 AM - 12:15 PM In Person
Description Greek chitons, Elizabethan farthingales, Regency bum rolls, Victorian crinolines, Art Deco bias: the fashionable European body shape has changed era by era, the lines of the body accentuated and distorted through constrictions and protrusions. In this course, you will research those changing ideals of beauty through paintings, drawings, fashion plates, periodicals, literature, satire, and extant garments and organize your research into foundational tools to support future learning and making. Through the research you will also engage with traditional methods and techniques for creating these silhouettes; techniques and skills as essential to the student interested in historical costume design as those creating worlds of science fiction and fantasy. These investigations into changing the shape of the human body will also spark discussion around new ideas in sculpture, object design, creative motion, and the mutability of body identity. Readings from noted fashion historians and theorists Caroline Evans, Linda Baumgarten, Valerie Steele and the Fashioning the Body exhibition catalogue will be read in parallel with essays from feminist theorists and texts exploring ideas of embodiment and performativity. Remote visits with historians, reenactors, and archives such as the Newberry Library¿s special collection and the Art Institute¿s Textile collection will offer a rare opportunity to examine the qualities and materials of objects and garments made in a time distinct from our own. Projects throughout the course will include reference journals, illustrated glossaries, annotated bibliographies, historical sewing technique samplers, and half-scale structural garments. For final projects students will produce a research paper and a costume for a historical figure or fantastical character replicating the forms of beauty past. Prerequisites Co Req Forms of Beauty Past: Students must enroll in ARTHI 3098 and FASH 3098	Class Number 2188	Credits 3	Department Art History, Theory, and Criticism Area of Study Economic Inequality & Class, Costume Design, Gender and Sexuality Location Sullivan Center 705, Sullivan Center 706
Ghost in the Chamber: Surrealism and Photography	3098 (001)	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 cumlinating 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. Prerequisites Studio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098	Class Number 1538	Credits 3	Department Photography Area of Study Class, Race, Ethnicity, Art/Design and Politics, Gender and Sexuality Location 280 Building Rm 214
The Forms of Beauty Past: Historical European Fashions	3098 (001)	Caroline Marie Bellios, Gerry Quinton	Sat, Sat 10:00 AM - 12:15 PM, 10:00 AM - 12:15 PM In Person
Description Greek chitons, Elizabethan farthingales, Regency bum rolls, Victorian crinolines, Art Deco bias: the fashionable European body shape has changed era by era, the lines of the body accentuated and distorted through constrictions and protrusions. In this course, you will research those changing ideals of beauty through paintings, drawings, fashion plates, periodicals, literature, satire, and extant garments and organize your research into foundational tools to support future learning and making. Through the research you will also engage with traditional methods and techniques for creating these silhouettes; techniques and skills as essential to the student interested in historical costume design as those creating worlds of science fiction and fantasy. These investigations into changing the shape of the human body will also spark discussion around new ideas in sculpture, object design, creative motion, and the mutability of body identity. Readings from noted fashion historians and theorists Caroline Evans, Linda Baumgarten, Valerie Steele and the Fashioning the Body exhibition catalogue will be read in parallel with essays from feminist theorists and texts exploring ideas of embodiment and performativity. Remote visits with historians, reenactors, and archives such as the Newberry Library¿s special collection and the Art Institute¿s Textile collection will offer a rare opportunity to examine the qualities and materials of objects and garments made in a time distinct from our own. Projects throughout the course will include reference journals, illustrated glossaries, annotated bibliographies, historical sewing technique samplers, and half-scale structural garments. For final projects students will produce a research paper and a costume for a historical figure or fantastical character replicating the forms of beauty past. Prerequisites Co Req Forms of Beauty Past: Students must enroll in ARTHI 3098 and FASH 3098	Class Number 2188	Credits 3	Department Art History, Theory, and Criticism Area of Study Economic Inequality & Class, Costume Design, Gender and Sexuality Location Sullivan Center 705, Sullivan Center 706
The Forms of Beauty Past: Historical European Fashions	3098 (001)	Caroline Marie Bellios, Gerry Quinton	Sat, Sat 1:15 PM - 4:00 PM, 1:15 PM - 4:00 PM In Person
Description Greek chitons, Elizabethan farthingales, Regency bum rolls, Victorian crinolines, Art Deco bias: the fashionable European body shape has changed era by era, the lines of the body accentuated and distorted through constrictions and protrusions. In this course, you will research those changing ideals of beauty through paintings, drawings, fashion plates, periodicals, literature, satire, and extant garments and organize your research into foundational tools to support future learning and making. Through the research you will also engage with traditional methods and techniques for creating these silhouettes; techniques and skills as essential to the student interested in historical costume design as those creating worlds of science fiction and fantasy. These investigations into changing the shape of the human body will also spark discussion around new ideas in sculpture, object design, creative motion, and the mutability of body identity. Readings from noted fashion historians and theorists Caroline Evans, Linda Baumgarten, Valerie Steele and the Fashioning the Body exhibition catalogue will be read in parallel with essays from feminist theorists and texts exploring ideas of embodiment and performativity. Remote visits with historians, reenactors, and archives such as the Newberry Library¿s special collection and the Art Institute¿s Textile collection will offer a rare opportunity to examine the qualities and materials of objects and garments made in a time distinct from our own. Projects throughout the course will include reference journals, illustrated glossaries, annotated bibliographies, historical sewing technique samplers, and half-scale structural garments. For final projects students will produce a research paper and a costume for a historical figure or fantastical character replicating the forms of beauty past. Prerequisites Co Req Forms of Beauty Past: Students must enroll in ARTHI 3098 and FASH 3098	Class Number 2367	Credits 3	Department Fashion Design Area of Study Economic Inequality & Class, Costume Design, Gender and Sexuality Location Sullivan Center 706, Sullivan Center 705
The Forms of Beauty Past: Historical European Fashions	3098 (001)	Caroline Marie Bellios, Gerry Quinton	Sat, Sat 1:15 PM - 4:00 PM, 1:15 PM - 4:00 PM In Person
Description Greek chitons, Elizabethan farthingales, Regency bum rolls, Victorian crinolines, Art Deco bias: the fashionable European body shape has changed era by era, the lines of the body accentuated and distorted through constrictions and protrusions. In this course, you will research those changing ideals of beauty through paintings, drawings, fashion plates, periodicals, literature, satire, and extant garments and organize your research into foundational tools to support future learning and making. Through the research you will also engage with traditional methods and techniques for creating these silhouettes; techniques and skills as essential to the student interested in historical costume design as those creating worlds of science fiction and fantasy. These investigations into changing the shape of the human body will also spark discussion around new ideas in sculpture, object design, creative motion, and the mutability of body identity. Readings from noted fashion historians and theorists Caroline Evans, Linda Baumgarten, Valerie Steele and the Fashioning the Body exhibition catalogue will be read in parallel with essays from feminist theorists and texts exploring ideas of embodiment and performativity. Remote visits with historians, reenactors, and archives such as the Newberry Library¿s special collection and the Art Institute¿s Textile collection will offer a rare opportunity to examine the qualities and materials of objects and garments made in a time distinct from our own. Projects throughout the course will include reference journals, illustrated glossaries, annotated bibliographies, historical sewing technique samplers, and half-scale structural garments. For final projects students will produce a research paper and a costume for a historical figure or fantastical character replicating the forms of beauty past. Prerequisites Co Req Forms of Beauty Past: Students must enroll in ARTHI 3098 and FASH 3098	Class Number 2367	Credits 3	Department Fashion Design Area of Study Economic Inequality & Class, Costume Design, Gender and Sexuality Location Sullivan Center 706, Sullivan Center 705
Ghost in the Chamber: Surrealism and Photography	3098 (001)	Jeremy Biles	Fri 12:15 PM - 3:00 PM 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 cumlinating 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. Prerequisites Studio Symposia - Students must enroll in both PHOTO 3098 and HUMANITY 3098	Class Number 1490	Credits 3	Department Liberal Arts Area of Study Class, Race, Ethnicity, Art/Design and Politics, Gender and Sexuality Location 280 Building Rm 214
Structuring Narrative & Building the Imagined World	3104 (001)	Gitanjali Kapila	Thurs 8:30 AM - 11:15 AM In Person
Description This course focuses on using the principles of narrative and narrative structure to explore worldbuilding as a method for creating platform-specific time-based media. Students will engage a variety of writings in order to apprehend the theoretical tools necessary for 1) understanding narrative as a controlled and mediated communication between writer and viewer; 2) apprehending the critical role of designed spaces and narrative mapping in creating imagined worlds; 3) interrogating the ways in which media technologies and delivery systems inform the centering of different narrative perspectives; 4) exploring the process of activating narrative content in the imagined world for platform-specific media. The works of Sophocles, Aristotle, and Joseph Campbell will provide a coordinated theoretical framework for course content. Over the course of the semester students should expect to produce an ¿imagined world¿ which has undergone at least 5-6 iterations based on course content. Students will also be expected to produce a screenplay, television pilot and bible, game bible or other platform-specific writing based on the world that the student builds. Prerequisites Prerequisite: FVNM 3024.	Class Number 1438	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Communication, Playwriting/Screenwriting, Social Media and the Web Location MacLean 517
Introduction to 2D Computer Animation	3105 (001)	Pablo Keith Lorenzana	Mon 9:00 AM - 3:00 PM In Person
Description This course is an introduction to the concepts and processes utilized in the production of digital and analogue to digital 2-D animation. Students work especially with Photoshop and After Effects to develop projects. Complex compositing and layering are also explored in this class. Screenings vary but include primarily contemporary filmmakers / animators using tools covered in class, ranging from student films from other countries and institutions to professional and more commercial examples - all of which will be critiqued and discussed heavily each week. The first 7-8 weeks of class are spent creating ultra short animated films, along with a longer final project at the end of the semester. Prerequisites FVNM 2420 or 5020	Class Number 1427	Credits 3	Department Film, Video, New Media, and Animation Area of Study Digital Imaging, Animation Location MacLean 714
Fashion Photography	3105 (001)	Mayumi Lake, Donald Yoshida	Thurs 9:00 AM - 3:00 PM In Person
Description The objective of the proposed class is to give students the opportunity to understand the process of concept development, introduce pre-production, styling, set considerations, lighting, post production and how best to capture the essence of the fashion idea through photography. Garment silhouette, cut & construction, color and texture are considered to best convey the design idea through the most appropriate and effective photographic techniques. An editorial approach is used in the book to stimulate and communicate their fashion sense to the viewer and to tell a fashion story.	Class Number 1380	Credits 3	Department Fashion Design Location 280 Building Rm 207
Fashion Photography	3105 (001)	Mayumi Lake, Donald Yoshida	Thurs 9:00 AM - 3:00 PM In Person
Description The objective of the proposed class is to give students the opportunity to understand the process of concept development, introduce pre-production, styling, set considerations, lighting, post production and how best to capture the essence of the fashion idea through photography. Garment silhouette, cut & construction, color and texture are considered to best convey the design idea through the most appropriate and effective photographic techniques. An editorial approach is used in the book to stimulate and communicate their fashion sense to the viewer and to tell a fashion story.	Class Number 1380	Credits 3	Department Fashion Design Location 280 Building Rm 207
Cont Narr:Love Art/Hate Artist	3105 (001)	Eileen Favorite	Thurs 8:30 AM - 11:15 AM In Person
Description How do the biographical details of an artist's life influence our attitude toward their work? Should an artist's politics?both personal and public?influence our aesthetic response to the artwork itself? Or does a work of art become its own entity, detached from its creator? Perhaps, as the deconstructionists advocate, a text or image only bears an accidental relationship to the author's conscious intentions, and thus the creator is superfluous to the work itself. In this class, we study the lives and works of such artists as Chester Himes, J.D. Salinger, Patricia Highsmith, and Sylvia Plath, to examine why we tolerate some behaviors and abhor others. By reviewing biographies, journals, films, and the primary text or artwork itself, we wrestle with the question, is it possible to love the art when you hate/disapprove of/dislike the life the artist led? Students will write shared discussion pieces, a 8-10-page research paper on an artist of their choice, and participate in team debates. CONTENT WARNING: The content and discussion in this course will necessarily sometimes engage with issues of human suffering. Much of it will be emotionally and intellectually challenging to engage with, including graphic or intense content that discusses or represents racism, mental illness, and sexual or physical violence. Prerequisites Prerequisite: First Year English requirement.	Class Number 1474	Credits 3	Department Liberal Arts Location Lakeview - 1608
Cont Narr: Asian American Lit	3105 (002)	Suman Chhabra	Thurs 8:30 AM - 11:15 AM In Person
Description There are fantastic books by Asian American writers but often they are not taught in school, or part of pop culture, or included in the literary canon. Who decides which writers and books are worthy of reading? In this discussion based course, we will critically read, think, and write about texts by contemporary Asian American authors. We will analyze multiple factors that have influenced the creation of the texts and that are explored within them, such as race, diaspora, memory, family, politics, community, and identifying oneself and one¿s artwork. The readings will be across genre: novels, poetry, non-fiction, and graphic novels. Readings often include works by Victoria Chang, Mira Jacob, Alexander Chee, Jenny Xie, Ocean Vuong, Ted Chiang, and Cathy Park Hong among others. We will freewrite, formulate conceptual questions for the readings, write responses, and compose 2 essays based on individual inquiry and analysis. Prerequisites Prerequisite: First Year English requirement.	Class Number 1461	Credits 3	Department Liberal Arts Location Lakeview - 205
Masterworks: Sun Tzu & The Romance of the Three Ki	3110 (001)	Christian M Sheppard	Wed 8:30 AM - 11:15 AM In Person
Description A detailed, intensive study of a small number of recognized masterworks that have demonstrated their power outside of their own national and historical context. Recent examples: Dante's Divine Comedy, Dostoevsky's The Brothers Karamazov. Prerequisites Prerequisite: First Year English requirement.	Class Number 1458	Credits 3	Department Liberal Arts Location MacLean 608
Masterworks:Raymond Carver	3110 (002)	James McManus	Tues 12:15 PM - 3:00 PM In Person
Description Book: Where I?m Calling From, by Raymond Carver Students will read approximately one Raymond Carver story and/or poem a day. To receive credit, you must attend at least thirteen classes on time, do all the readings and written assignments, and participate in in-class discussions. You must write at least two 150-word essays and bring 25 typed copies to class. The final project will be an analytical essay, a poem, a very short story, or a visual work. Whichever genre you choose to work in, I encourage you to channel, imitate, or otherwise creatively respond to at least one of the published works. Prerequisites Prerequisite: First Year English requirement.	Class Number 1470	Credits 3	Department Liberal Arts Location MacLean 707
Letterpress Bookworks	3111 (001)	Catherine Ruggie-Saunders	Mon 9:00 AM - 3:00 PM In Person
Description Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content. Instruction encourages an interdisciplinary approach with a thrust toward expanding the medium?s boundaries. Lectures and video documentaries provide an historical and cultural context for type design and the printing revolution. A field trip will provide exposure to the expanding applicability of letterpress in contemporary design, as well as exemplars from the past six centuries. Demonstrations will acquaint students with both classical and current approaches to using the tactile voice of letterpress. Students should expect to work with single sheet formats, traditional books, artist's books, and 3-D sculptural multiples, to be presented in group critiques. This course may be repeated for credit, with students creating letterpress bookworks through self-initiated projects. Prerequisites Prerequisite: VISCOM 2011 or permission of instructor.	Class Number 1798	Credits 3	Department Visual Communication Design Area of Study Books and Publishing Location Sharp 1308
Holography	3111 (001)	Alan Perry	Sat 10:00 AM - 4:00 PM In Person
Description In this introduction to the theory, tools, and techniques of three-dimensional imaging, students study the structure of light and the ways in which it can convey information, and familiarize themselves with the basic tool of holography, the laser. Students make several different styles of holograms, some viewable in laser light, and some in white light. Techniques involving spatial juxtaposition and montage are also explored. The focus is on developing a working knowledge of the medium from the perspective of its artistic possibilities. Readings will include journal articles that touch on the history, techniques, and aesthetics of holography. Some of the artists we will consider include Sally Weber, Mary Harman, Paula Dawson, and John Kaufman. We will also look at prior student work and discuss holography as an interdisciplinary, installation-based practice in addition to holography as a medium in and of itself. Lastly, we will discuss the unique issues around and strategies for exhibiting holographic works. Over the course of the semester, students should expect to produce a body of work of laser- and/or white-light-viewable holograms over a sequence of assignments that conceptually build off one another, and work collaboratively to produce a digital hologram.	Class Number 2114	Credits 3	Department Art & Technology / Sound Practices Area of Study Digital Imaging Location MacLean 414
Letterpress Bookworks	3111 (002)	Catherine Ruggie-Saunders	Fri 9:00 AM - 3:00 PM In Person
Description Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content. Instruction encourages an interdisciplinary approach with a thrust toward expanding the medium?s boundaries. Lectures and video documentaries provide an historical and cultural context for type design and the printing revolution. A field trip will provide exposure to the expanding applicability of letterpress in contemporary design, as well as exemplars from the past six centuries. Demonstrations will acquaint students with both classical and current approaches to using the tactile voice of letterpress. Students should expect to work with single sheet formats, traditional books, artist's books, and 3-D sculptural multiples, to be presented in group critiques. This course may be repeated for credit, with students creating letterpress bookworks through self-initiated projects. Prerequisites Prerequisite: VISCOM 2011 or permission of instructor.	Class Number 1797	Credits 3	Department Visual Communication Design Area of Study Books and Publishing Location Sharp 1308
Hybrid Objects	3113 (001)	Andrew Hunter	Tues, Tues 3:30 PM - 9:15 PM, 3:30 PM - 9:15 PM In Person
Description This studio course explores the interconnected nature of our physical and digital realities and their implications as technical, physical, and conceptual tools for understanding and presenting spatial ideas. This course teaches students to integrate the digital and the analog through process demonstrations including 3D modeling, 3D scanning, digital visualization, 3D printing, CNC output, mold making, pattern making, as well as metal and wood fabrication. This course covers planar and spatial construction methodologies. This course engages themes of identity and place in sculpture and presents the idea that these concepts are expressed uniquely via this hybrid process. However, students in this course are free to choose the content of their own work. Practical application of technical demonstrations build on lectures and discussions considering works by Tauba Auerbach, Macarthur Freeman, The Long Now Foundation, Charles Ray, Spurse, Rokudenashiko (Megumi Igarashi), Amanda Williams, and Wim Delvoye among others. Students will work individually to create 3 artworks to be presented in a final critique. Students will share these artworks in-process in 2 or 3 informal critiques. Each student will also complete a short written research project.	Class Number 1710	Credits 3	Department Sculpture Location 280 Building Rm 127, 280 Building Rm 127A
Foundry: Industrial Morphologies	3115 (001)	Elizabeth Cote	Wed 9:00 AM - 3:00 PM In Person
Description Advances in metallurgy and foundry practices provided the spark for the Industrial Revolution that transformed the world. In this intermediate level metal casting course, students explore how technological developments, material innovations, principles of mass production and distribution, and the mechanization of work have influenced the shape of contemporary social, economic, and political structures. While emphasis is placed on foundry techniques in this course, a variety of industrial materials and processes are explored including computer scanning, data manipulation and rapid-prototyping technologies. Students learn to access industrial services via the internet and off-campus field trips.	Class Number 1707	Credits 3	Department Sculpture Area of Study Product Design Location 280 Building Rm 030
The Things of Mathematics	3117 (001)	Samuel Dodds	Wed 6:45 PM - 9:30 PM In Person
Description The 'Things of Mathematics' are its tools. The purpose of this course is to analyze and build some of the things that have built mathematics. Tools such as the abacus, astrolabe, sextant, sector, slide rule, planimeter, and others were ancestors of the earliest computers, such as the difference engine and the differential analyzer, which were special-purpose and mechanical. In this course, we rediscover how mathematics was literally 'handled' by earlier people. The course content extends across traditional divisions in mathematics (arithmetic, algebra, geometry, trigonometry, calculus). It also compares systems of notation and calculation, incorporating perspectives on mathematical cognition from psychology and anthropology. The focus of this course is making as the means to engage with mathematical concepts. Standard textbook-type excerpts will be used to convey the needed mathematical background. There will also be readings to give historical context to each tool and related mathematical topic. In order to revisit fundamental mathematics in a rigorous way, we will examine, understand, and actually build devices such as those mentioned. The sharing of student work and experience gained in the making process will be a consistent component of this course. A main component of student work is the making of math tools via given instructions. There will also be in-class problem solving activities to gain math facility, and there will be weekly readings for background accompanied by short comprehension quizzes. Prerequisites Prerequisite: First Year English requirement.	Class Number 1687	Credits 3	Department Liberal Arts Location Lakeview - 1503
Post-Production	3122 (001)	Kera MacKenzie	Fri 9:00 AM - 3:00 PM In Person
Description This course gives students the opportunity to comprehensively explore industry-standard devices in digital editing and visual effects, bringing to bear the power and versatility of nonlinear editing on their creative projects. The class offers advanced editing techniques including data management, sound mixing, visual effects, color correction, compression and output options. The course is structured around a series of technical lectures and hands-on workshops as well as discussions of theoretical texts and screenings of films specifically selected to address important issues in the post-production process. Students will be working on the post-production of a single self-directed project. Students should come prepared with some of their footage ready for editing at the beginning of the semester. Students must participate in a mid-term critique and end-of-semester critique. Students will also generate a press kit for their project. Prerequisites FVNM 2004 or FVNM 3003 or FVNM 5020	Class Number 1434	Credits 3	Department Film, Video, New Media, and Animation Location MacLean 819
Intermediate Screenwriting	3124 (001)	John Petrakis	Tues 3:30 PM - 6:15 PM In Person
Description Intermediate Screenwriting expands upon the skills learned in Beginning Screenwriting while preparing certain students for the longer-form writing required in Advanced Screenwriting. The purpose of the course is to allow students to develop mid-length stand-alone screenplays, adaptations from short stories or pilots for television series, while paying special attention to the vital role that drafting plays in the development of a successful script. Since Intermediate Screenwriting is first and foremost a writing class, there will be no formal reading or viewing assignments. However, throughout the semester, the professor will suggest books and articles to read and films to watch, that should help further and develop the various ideas that students are wrestling with in their scripts. For example, a work such as Kieslowski's ''The Decalogue'' will be suggested for students looking to embrace a thematic approach to a series of short films. Students have the option of completing two drafts of a 60-page script or three drafts of a 30-45 page script. Completion of these drafts are required to pass the class Prerequisites Prerequisite: FVNM 3024.	Class Number 1446	Credits 3	Department Film, Video, New Media, and Animation Area of Study Playwriting/Screenwriting Location MacLean 518
Doing Democracy	3125 (001)	Joshua Rios	Thurs 12:15 PM - 3:00 PM In Person
Description What egalitarian ideals have shaped our conception of public education? How has the promise of democratic schools been undermined by white privilege, racism, class-based discrimination, inequitable funding, colonialism, patriarchy, and disregard for the human impact on the natural world? This course builds a foundation for understanding the politics of schooling by exploring the struggle for democratic education in Chicago, contextualized by contemporary global decolonial practices in education. Students will consider how shifting conceptions of schooling are responses to the contemporary cultural moment¿recognizing how curriculum supports the beliefs and needs of the status quo as well as how curriculum might critique and propose new ways of being as individuals and as societies. The course explores a broad range of histories, philosophies, and approaches to schooling, including Freedom Schools, Native American boarding schools, transformative justice in education, play and free child movements, teacher-led movements, environmental studies, and the fight to defend ethnic studies programs as well as attempts to re-segregate and privatize public schools. Artists, designers and scholars to be studied include Tonika Lewis, Eve Ewing, Elizabeth Todd-Breland, Jose Resendiz, Borderless Studios, Interference Archive and Alexis Rockman. Readings from the field of art education by Doug Blandy, Laurie Hicks, and Mark Graham will trace the emergence of eco-art and place-based art education curriculum. Field trips include visits to school sites, Chicago Board of Education meetings and exploration of CBOE archives. Course assignments include short response papers and course readings. Students conduct and report on six hours of observations in schools, sites of school decision-making, and in places where people attempt to build democratic processes related to schools. Students will conduct independent research on topics related to contemporary issues and schooling. Each student will prepare and present a culminating project proposal for a school whose curriculum and structures address their political and social concerns and pedagogical vision. Prerequisites Prerequisite: Open to junior BFAAE students only or permission of instructor.	Class Number 1021	Credits 3	Department Art Education Area of Study Community & Social Engagement, Teaching, Art/Design and Politics Location Sharp 403
Doing Democracy	3125 (002)		Thurs 3:30 PM - 6:15 PM In Person
Description What egalitarian ideals have shaped our conception of public education? How has the promise of democratic schools been undermined by white privilege, racism, class-based discrimination, inequitable funding, colonialism, patriarchy, and disregard for the human impact on the natural world? This course builds a foundation for understanding the politics of schooling by exploring the struggle for democratic education in Chicago, contextualized by contemporary global decolonial practices in education. Students will consider how shifting conceptions of schooling are responses to the contemporary cultural moment¿recognizing how curriculum supports the beliefs and needs of the status quo as well as how curriculum might critique and propose new ways of being as individuals and as societies. The course explores a broad range of histories, philosophies, and approaches to schooling, including Freedom Schools, Native American boarding schools, transformative justice in education, play and free child movements, teacher-led movements, environmental studies, and the fight to defend ethnic studies programs as well as attempts to re-segregate and privatize public schools. Artists, designers and scholars to be studied include Tonika Lewis, Eve Ewing, Elizabeth Todd-Breland, Jose Resendiz, Borderless Studios, Interference Archive and Alexis Rockman. Readings from the field of art education by Doug Blandy, Laurie Hicks, and Mark Graham will trace the emergence of eco-art and place-based art education curriculum. Field trips include visits to school sites, Chicago Board of Education meetings and exploration of CBOE archives. Course assignments include short response papers and course readings. Students conduct and report on six hours of observations in schools, sites of school decision-making, and in places where people attempt to build democratic processes related to schools. Students will conduct independent research on topics related to contemporary issues and schooling. Each student will prepare and present a culminating project proposal for a school whose curriculum and structures address their political and social concerns and pedagogical vision. Prerequisites Prerequisite: Open to junior BFAAE students only or permission of instructor.	Class Number 2246	Credits 3	Department Art Education Area of Study Community & Social Engagement, Teaching, Art/Design and Politics Location Sharp 403
Package Design	3131 (001)	Jacob Ristau	Fri 9:00 AM - 3:00 PM In Person
Description Students produce simple and complex three-dimensional studies. Principles of abstraction combined with packaging construction techniques serve as the basis for developing solutions. A variety of assignments are given that explore the integration of typography, image, and form. Prerequisites Prerequisite: VISCOM 2001 and VISCOM 2011.	Class Number 1799	Credits 3	Department Visual Communication Design Area of Study Graphic Design, Product Design Location Sharp 1117
Mod: Arthur Rimbaud	3132 (001)	Patrick Durgin	Mon 8:30 AM - 11:15 AM In Person
Description Poet of 'logical revolts,' of sexual freedom, inveterate modernist, Symbolist, and inspiration to beatniks, conceptual artists and punks, Arthur Rimbaud wrote some of the most enduring poems of world literature. His career lasted all of five years, between 1870-1875. This course immerses you in his poetry in verse and in prose, exposes you to some of the criticism surrounding his work, and examines how the figure of Rimbaud has been appropriated by late twentieth century visual and musical artists, particularly Patti Smith and David Wojnarowicz. Texts will include A Season in Hell, 'Letters from a Seer,' 'Drunken Boat,' and Kristin Ross's classic literary-critical study The Emergence of Social Space. Students will read daily, respond with short written responses and a final essay, as well as contribute to daily, vigorous, analytical class discussions. Prerequisites Prerequisite: First Year English requirement.	Class Number 2182	Credits 3	Department Liberal Arts Location MacLean 301
Adv Wksp: Writing Landscape	3140 (001)	Jose Moctezuma	Tues 12:15 PM - 3:00 PM In Person
Description In this course, we will explore the history and nature of landscape in literature, but especially as a practice of description, catalogue, attention, and scale. With a specific attention to ekphrasis (the description or reproduction of a visual work in a literary format), we will practice 'decolonizing' landscape from its problematic entanglements with the enclosure movement and the history of colonialism, and seek out ways of redefining landscape within urban and bucolic environments, at once gaining a new understanding of what Donna Haraway called 'natureculture,' the entangled multispecies aspects of environment that thrive in hybridity and codependence. We will experiment with different forms of writing, incorporating, and deconstructing landscape within our writing and creative practices. Course work will vary but typically will include weekly reading assignments, short low-stakes writing assignments, 2 workshop slots, and a final creative project that engages with the course topic.	Class Number 1836	Credits 3	Department Writing Location Lakeview - 803
Adv. Wksp: Fiction Novella	3140 (002)	Kathie Bergquist	Thurs 8:30 AM - 11:15 AM In Person
Description Requiring more sustained attention than a short story, and a more exclusive and disciplined structure than a novel, middle-length fiction (spanning between 30-150 pages) has much to teach the developing writer about compression and story arc and what Nabokov described as 'diminishing large things and enlarging small ones'. In this workshop, students read and analyze several exemplary examples of novellas and novelettes that could include authors ranging from Franz Kafka and Nella Larsen to Rachel Ingalls and Justin Torres, among others. In addition to completing weekly journals based on their observations of craft and writerly process and weekly discussions centered on craft elements in the mid-length form, students will develop their own mid-length fiction draft, through student-centered and ethical critique and feedback practice.	Class Number 1840	Credits 3	Department Writing Location Lakeview - 803
Mysticism in/around/under Mathematics	3152 (001)	Luna Jaskowiak	Fri 8:30 AM - 11:15 AM In Person
Description Issac Newton is credited with creating mathematical models of the laws of classical physics as well as being an inventor of infinitesimal calculus, but is less well-know as an alchemist despite almost a tenth of his writing being dedicated to the subject. Far from being an isolated example, this is a surprisingly normal occurrence when considered against what we know of the history of mathematics. In this course we will examine the shared history and similar ontological and epistemological structure of mystical and mathematical practice Babylon in the early second millennium until now. Some relevant topics that this class will investigate include: epistemology, ontology, access to knowledge, collective acceptance of new knowledge, what constitutes forbidden or obscene knowledge, the irrationality of the square root of 2, Cantor's project, occult mathematical practice in the second world war, basic algebraic geometry, the psychology of new religious movements and secret societies, recent history of mathematics and natural science, mathematical logic, what ¿is¿ truth, systems of inference, symbolic representation, combinatorics, chaos magic, aesthetics of mathematics, meditation and more. Course work may vary, but will primarily consist of weekly reading and short quizzes in addition to less frequent writing assignments. Prerequisites Prerequisite: First Year English requirement.	Class Number 1692	Credits 3	Department Liberal Arts Area of Study Art and Science Location MacLean 620
Mysticism in/around/under Mathematics	3152 (002)	Luna Jaskowiak	Fri 12:15 PM - 3:00 PM In Person
Description Issac Newton is credited with creating mathematical models of the laws of classical physics as well as being an inventor of infinitesimal calculus, but is less well-know as an alchemist despite almost a tenth of his writing being dedicated to the subject. Far from being an isolated example, this is a surprisingly normal occurrence when considered against what we know of the history of mathematics. In this course we will examine the shared history and similar ontological and epistemological structure of mystical and mathematical practice Babylon in the early second millennium until now. Some relevant topics that this class will investigate include: epistemology, ontology, access to knowledge, collective acceptance of new knowledge, what constitutes forbidden or obscene knowledge, the irrationality of the square root of 2, Cantor's project, occult mathematical practice in the second world war, basic algebraic geometry, the psychology of new religious movements and secret societies, recent history of mathematics and natural science, mathematical logic, what ¿is¿ truth, systems of inference, symbolic representation, combinatorics, chaos magic, aesthetics of mathematics, meditation and more. Course work may vary, but will primarily consist of weekly reading and short quizzes in addition to less frequent writing assignments. Prerequisites Prerequisite: First Year English requirement.	Class Number 2176	Credits 3	Department Liberal Arts Area of Study Art and Science Location MacLean 620
The invisible Cinema: Asian American Cultural Diaspora	3153 (001)	Tatsu Aoki	Tues 12:15 PM - 3:00 PM In Person
Description A marginal cinema and history; a course designed for an undergraduate level art history. This course looks at Asian American Cinema experience and historical development as Asian American ethnic cultural diaspora and visionally representations. From political to imaginary, this course will look at works of Asian American representation through cinema and examine the Asian American & pacific Islander American experience as told though cinematic expression such as documentary, short films, feature length narratives, experimental films and mainstream Hollywood releases. Along with weekly viewings of films and excerpts, the course will also discuss Asian American collective identity and social issues, historical background, economy of film production, racism, negative stereotyping, Hollywood whitewashing, cultural appropriation, and media activism. Historically significant artists, filmmakers and producers will be presented for weekly discussion. Some of the artists introduced in the class are: the matinee idol Sessue Hayakawa (1889?1973), to Anna May Wong (1905?1961), Winifred Eaton Reeve, Renee Tajima, Steven Okazak, Wayne Wang, Kelly Saeteurn, Quentin Lee, Justin Lin and others. Weekly viewings of films and journals, One Midterm assignment and one final Paper. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1044	Credits 3	Department Art History, Theory, and Criticism Area of Study Class, Race, Ethnicity, Playwriting/Screenwriting, Community & Social Engagement Location MacLean 1307
Furniture 2: Prototyping for Furniture	3155 (001)	Lee Weitzman	Mon 9:00 AM - 3:00 PM In Person
Description This digital-analog studio affords modeling and prototyping for furniture and other objects at environmental scale. Students construct prototype objects for living while learning a diverse range of technical and process options for making at scale in materials including wood, metals, plastics, fabrics and foams. Focus on fluid improvisation in prototyping designs both by hand and using CNC and other integrated fabrications technologies. The course explores the systems work of Enzo Mari and Gerrit Rietveld to understand simple construction and scaffold mechanisms for creating quick prototypes. We watch an array of craft and wood engineering videos to understand manufacturing and fabrication techniques, and how prototyping takes place in furniture businesses. There are three major assignments, each yielding a unique piece of furniture. Naturally, the scope and scale of the projects increase as the semester moves forward. Additionally the course includes two day-long charettes to deliver specific skills and two field trips, to a furniture manufacturer and to a furniture show room.	Class Number 1276	Credits 3	Department Architecture, Interior Architecture, and Designed Objects Area of Study Furniture Design Location Sullivan Center 1242
The World and the Copy: Buildings, Gardens, Cities	3157 (001)	Shiben Banerji	Fri 12:15 PM - 3:00 PM In Person
Description This course examines different models of architectural practice in Byzantine, early Islamic, Zagwe, Mughal, Ming, Dogon, Khmer, Mayan, and Qing society. We interrogate how buildings, gardens, and cities produce religious and political authority, conjure images of the past and dreams of the future, and map continuity and change. Through comparative analysis we develop theoretical models of architectural copying and world-making, and evolve a historiography that emphasizes the global provenance and transnational routes of architectural practice. Projects we study include Hagia Sophia, the Umayyad Mosque, Lalibela, Fatehpur Sikri, Angkor Wat, Chichen Itza, and the Forbidden City. Students also learn to relate classroom discussions to objects in the Art Institute's collections. Quizzes and in-class writing assignments based on required readings. Take-home and in-class research and writing assignments based on objects in the Museum's collections. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 2239	Credits 3	Department Art History, Theory, and Criticism Location MacLean 920
Soft Bulletins: Biological Communications	3163 (001)	Brett Ian Balogh	Thurs 9:00 AM - 3:00 PM In Person
Description Societies, ecologies and organisms are complex systems that require coordination among their disparate elements to function. These biological systems accomplish this by communicating in a variety of different ways: sound, light, touch, chemical messaging, the exchange of genetic material and electrical impulses. This studio art course critically examines the variety of ways simple biological systems communicate through the lens of contemporary discourse around posthuman roles in the anthropocene and its attendant problems of mass extinction, climate change, clean energy and dwindling resources. The course will examine examples of biological communications among multicellular and unicellular non-human organisms and will draw on a history of artwork in the field of bioart. The studio asks the student to identify (speculate) ways they can intervene in, mimic or participate in these communication networks in order to inspire empathy and establish new ways of interspecies communication. Course activities will be supported by the purchase of kit whose contents will serve as tools to facilitate observation, recording, measurement and conversation with the subjects of our explorations. Each student will research a topic of interest and will respond to it through the lens of their own practice in the creation of a final project. No prior skills in electronics or art and technology studies are required; however, curiosity and a willingness to learn are a must.	Class Number 1124	Credits 3	Department Art & Technology / Sound Practices Area of Study Art/Design and Politics, Art and Science Location Michigan B1-19
Advanced Neon	3164 (001)	Gregory Mowery	Wed 9:00 AM - 3:00 PM In Person
Description The relatively simple to program microprocessor technology and solid state hardware allow students to focus on issues of content and concept. Students will learn both industry standards and unique solutions of assembly, installation and presentation. Students will be asked to create work where the temporal, spacial and physical elements are intrinsically related. Artists will look at both commercial work from mid-century and current fine art with an emphasis on animation, and other implementations and mixing of technologies. A special emphasis will be given to Bruce Nauman, who most exemplifies the values of this course. Students will be required to complete assigned exercises early in the semester. There will be an assigned mid-term followed by several weeks of studio and a final critique. Prerequisites Pre: ARTTECH 2112	Class Number 1121	Credits 3	Department Art & Technology / Sound Practices Area of Study Graphic Design, Animation Location MacLean B1-16
History of Manga	3173 (001)	Ryan Holmberg	Mon 6:45 PM - 9:30 PM All Online
Description This course offers a survey of the history of manga (Japanese comics) from its premodern predecessors to the present. Beginning with narrative picture scrolls in the medieval period, it will touch on forms of humor and political cartooning in the 19th and early 20th centuries, before moving onto multi-page stories, serials, and standalone books within the serially paneled comics medium. Related developments in non-Japanese comics and media like film, animation, illustration, and painting will also be considered. Among the major artists to be considered in this course are: Hokusai, Tagawa Suiho, Tezuka Osamu, Tatsumi Yoshihiro, Shirato Sanpei, Tsuge Yoshiharu, Hagio Moto, Otomo Katsuhiro, Takahashi Rumiko, and Tagame Gengoro. Students will be required to complete weekly readings, including translated manga and historical/interpretive essays, in addition to occasional reading responses, a research paper, and a final exam. Prerequisites Prerequisite: Art History Survey Requirement	Class Number 1076	Credits 3	Department Art History, Theory, and Criticism Area of Study Illustration, Comics and Graphic Novels, Books and Publishing Location Online
LH:Speaking Images/Visual Texts	3190 (001)	Pamela Barrie	Tues 12:15 PM - 3:00 PM In Person
Description From hieroglyphs to haiku?when do images function as words, words as images? Where do word, image and idea meet, and what are the potentials for communication and artistic expression? From the Renaissance fad for emblem poems, to the Asian-inspired poetics of the 20 th century Imagists, these questions have arisen a number of times in the history of the alphabetic cultures, as well as those employing other forms of graphic notation. In this course, we study a diverse range of verbal/visual traditions and movements, the philosophies and theories behind them, and their cultural and aesthetic aims and achievements. Students write a series of short essays in response to the course materials, and also do independent research for a presentation and paper on a particular aspect of the topic. Prerequisites Prerequisite: First Year English requirement.	Class Number 1475	Credits 3	Department Liberal Arts Location Lakeview - 1608
LH: The Lives of Birds	3190 (002)	Peter O'Leary	Thurs 3:30 PM - 6:15 PM In Person
Description In 1865, Emily Dickinson wrote, ¿Split the Lark ¿ and you¿ll find the Music.¿ Upon seeing his first peregrine falcon, J.A. Baker remarked, ¿I have seen many since then, but none has excelled it for speed and fire of spirit. For ten years I spent all my winters searching for that restless brilliance, for the sudden passion and violence that peregrines flush from the sky.¿ This course explores the meaning of birds in some of the world¿s literature. We will focus on the observation of birds as well as the metaphorical significations of birds. And we will consider what disasters birds augur in the time of climate crisis. We will look at mysticism, poetry, memoir, and description. And birds, of course. Readings include The Conference of the Birds by Farid ud-din Attar, The Peregrine by J.A. Baker, The Redstart by John Buxton, The Warbler Road by Merrill Gilfillan, For the Good of All, Do Not Destroy the Birds by Jennifer Moxley, and poetry by Dickinson, Whitman, Robert Duncan, Robinson Jeffers, Sylvia Legris, Lesley Harrison, and Tom Pickard. Students will also make use of David Allen Sibley¿s Field Guide to the Birds of the Eastern United States. Assignments vary, but they might include some or many of the following: weekly reading responses, quizzes, papers, and exams. Prerequisites Prerequisite: First Year English requirement.	Class Number 1462	Credits 3	Department Liberal Arts Location MacLean 301
Literature In Historical Contexts	3190 (003)	Zachary Tavlin	Fri 12:15 PM - 3:00 PM In Person
Description Mastering a body of literature in the context of its specific historical, sociological, and ideological period is emphasized. The period and works vary. Prerequisites Prerequisite: First Year English requirement.	Class Number 2377	Credits 3	Department Liberal Arts Location MacLean 517
Literature In Historical Contexts	3190 (004)	Todd S. Hasak-Lowy	Thurs 12:15 PM - 3:00 PM In Person
Description Mastering a body of literature in the context of its specific historical, sociological, and ideological period is emphasized. The period and works vary. Prerequisites Prerequisite: First Year English requirement.	Class Number 2408	Credits 3	Department Liberal Arts Location Lakeview - 1608
Truth, Perception and Story-Telling in Artists' Books	3191 (001)	Alex Karenina Kostiw	Tues 9:00 AM - 3:00 PM In Person
Description Stories are a fundamental way that we share and understand information to make meaning. Storytelling, then, is in part an investigation of ?truths??of various realities that shape how we see the world. The intersection of content, internal narrative structure, and physical form, storytelling can illuminate ?truths? in ways that cause us to more deeply examine our perceptions, ideas, and beliefs. This course focuses on notions of truth in expression: how a fictional approach can express emotional truths; how multiple and contradictory views of a situation can reveal a truth; and how perceptions and beliefs can be called into question through story construction. A selection of readings and works, as well as visits to the Joan Flasch Artists' Book Collection, will provide examples of traditional vs. nontraditional, linear vs. nonlinear, and fiction vs. nonfiction narratives. Together with exercises in paper-based forms, they are starting points for exploring physical structures, methods, and devices of narrative discourse. The course treats the book form in broad terms: sequencing that reveals content or meaning over time. In 3-4 projects, students will develop their own content, work within project parameters to construct stories through image and/or text, and experiment with possibilities in narrative structure and form, whether paper-based or in other media. Prerequisites Prerequisite: VISCOM 3001	Class Number 1825	Credits 3	Department Visual Communication Design Area of Study Digital Communication Location Sharp 1213

Course Search Degree Programs

Description

Class Number

Credits

Department

Location

Description

Class Number

Credits

Department

Area of Study

Location

Description

Class Number

Credits

Department

Location

Description

Class Number

Credits

Department

Area of Study

Location

Description

Class Number

Credits

Department

Location

Description

Class Number

Credits

Department

Location

Description

Prerequisites

Class Number

Credits

Department

Area of Study

Location

Description

Class Number

Credits

Department

Location

Description

Class Number

Credits

Department

Area of Study

Location

Description

Class Number

Credits

Department

Area of Study

Location

Description

Class Number

Credits

Department

Location

Description

Class Number

Credits

Department

Location

Description

Prerequisites

Class Number

Credits

Department

Area of Study

Location

Description

Class Number

Credits

Department

Location

Description