Roger Reeves speaking to a group of people

Roger Reeves

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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

1164

Credits

3

Department

Ceramics

Location

280 Building Rm M153

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

1211

Credits

3

Department

Visual Communication Design

Area of Study

Graphic Design

Location

Online

Description

An attempt, a venture, an experiment, a weighing - the essayist discovers new insight into the common, the peculiar, the sacred, the profane - drawing lines between the trivial and profound, the essayist tries: while difficult to define, this genre instructs, entertains, questions and refines. Students of this course will examine this genre of literature and will practice it, too: being introduced to a wide range of authors, writing on topics familiar and foreign, from the personal to the argumentative, from the art historical to the humorous, students will practice this craft by critically analyzing the work of others and writing different types of essays in a workshop environment that emphasizes the writing process, from generating ideas, to oral presentations, to drafting and peer review, to re-seeing and revising. 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

1172

Credits

3

Department

Liberal Arts

Location

Online

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

1137

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 202

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

1213

Credits

1.5

Department

Visual Communication Design

Area of Study

Graphic Design

Location

Online

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

1136

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 202

Description

All FYS 2 students will learn to embrace the writing process and establish writerly habits, while developing guided critical reading, thinking, and writing skills necessary for their success in upper-level course work. Students learn to collaborate and to take their work, and the work of their peers seriously, thereby establishing best practices of critique. This FYS 2 course will explore the interconnected meanings of race, horror, and monstrosity. In particular, we will focus on the presentations and representations of racial difference in the Americas. From Birth of a Nation (1915) to Get Out (2017), and from the transatlantic slave trade to contemporary #BlackLivesMatter movements, African-American struggles for dignity and inclusion have produced ¿philosophies born of struggle,¿ i.e. avenues of critical thought and activism with an eye toward social liberation and freedom from daily fear.

Prerequisites

Prerequisite: ENGLISH 1001.

Class Number

1171

Credits

3

Department

Liberal Arts

Location

Lakeview - 206

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

1295

Credits

3

Department

Visual Communication Design

Area of Study

Graphic Design

Location

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

1197

Credits

3

Department

Painting and Drawing

Area of Study

Illustration, Comics and Graphic Novels, Books and Publishing

Location

280 Building Rm 306

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

1296

Credits

3

Department

Visual Communication Design

Area of Study

Graphic Design, Digital Imaging

Location

Sharp 1213

Description

This team-taught class is an intensive, three-week immersion in comics. The faculty consists of two SAIC faculty members and one visiting-artist-in-residence, working in a studio alongside students. Students work with faculty one-on-one, participate in group critiques, and attend lectures prepared by the faculty members.

Class Number

1199

Credits

3

Department

Painting and Drawing

Area of Study

Illustration, Comics and Graphic Novels, Books and Publishing

Location

MacLean Center 11th Floor

Description

This team-taught class is an intensive, three-week immersion in comics. The faculty consists of two SAIC faculty members and one visiting-artist-in-residence, working in a studio alongside students. Students work with faculty one-on-one, participate in group critiques, and attend lectures prepared by the faculty members.

Class Number

1199

Credits

3

Department

Painting and Drawing

Area of Study

Illustration, Comics and Graphic Novels, Books and Publishing

Location

MacLean Center 11th Floor

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

1292

Credits

3

Department

Film, Video, New Media, and Animation

Area of Study

Public Space, Site, Landscape, Social Media and the Web

Location

MacLean 517

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

1165

Credits

3

Department

Ceramics

Location

280 Building Rm M153

Description

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

Class Number

1169

Credits

3

Department

Ceramics

Location

280 Building Rm M153

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

1174

Credits

3

Department

Fashion Design

Area of Study

Costume Design, Illustration

Location

Sullivan Center 734

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

1205

Credits

3

Department

Sculpture

Location

280 Building Rm 030

Description

For the beginning student this course offers a concentrated introduction to the entire stencil making and printing process. The advanced student may explore the more sophisticated techniques of digital and photographic stencil-making, photo-mechanical darkroom and printing work.

Class Number

1191

Credits

3

Department

Printmedia

Location

280 Building Rm 222

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

1281

Credits

3

Department

Art Therapy

Area of Study

Community & Social Engagement

Location

Sharp 404, Sharp 404

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

1212

Credits

3

Department

Visual Communication Design

Area of Study

Digital Communication, Graphic Design, Books and Publishing

Location

Online

Description

Beginning, intermediate, and advanced levels are given technical guidance for exploration of the formal and expressive properties of woven structures. Introductions to the preparation of the loom and basic weaves are presented to beginners. Intermediate and advanced students are introduced to a conceptual focus and a technical vocabulary and encouraged to develop individual direction. Group as well as individual critiques are an important part of this course.

Class Number

1178

Credits

3

Department

Fiber and Material Studies

Location

Sharp 1011

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

1214

Credits

1.5

Department

Visual Communication Design

Area of Study

Graphic Design, Digital Imaging

Location

Online

Description

Beginning, intermediate, and advanced levels are given technical guidance in the use of dyes and pigments on fabrics. Both hand-painting and -printing processes are explored. The technical vocabulary may include: silkscreen, photographic techniques, stencil and stamp printing, and direct painting. Intermediate and advanced students are introduced to a conceptual focus and a technical vocabulary and are encouraged to develop individual direction. Exploration of ideas will be augmented through research, discussions, group and individual critiques, slide presentations, and field trips.

Class Number

1177

Credits

3

Department

Fiber and Material Studies

Location

Sharp 905

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

1303

Credits

3

Department

Printmedia

Location

280 Building Rm 223

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

1180

Credits

3

Department

Film, Video, New Media, and Animation

Area of Study

Digital Imaging, Social Media and the Web, Animation

Location

MacLean 519

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

1321

Credits

3

Department

Printmedia

Area of Study

Books and Publishing

Location

Online

Description

This course explores the interpretation of the landscape using both drawing and painting mediums. The class works both inside and outside of the studio, taking advantage of the natural and architectural sites of Chicago adjacent to the School.

Class Number

1195

Credits

3

Department

Painting and Drawing

Location

280 Building Rm 305

Description

Through the design, planning, and production of a single large-scale ceramic sculpture, students will gain both significant material knowledge and technical proficiency in numerous important hand-building principles and methods. Although for the purposes of the class these techniques will be specifically directed towards building big, they are broadly applicable to all-ceramic processes and will serve students well however they choose to work in the future.
Week one will focus on material considerations for large-scale building, clay mixing, stock preparation, and planning through sketches and small-scale clay or digital models. Weeks two through four will focus on construction, preliminary shaping, and sculpting techniques, such as darting and gusseting, stretching, splitting and patching, paddling, carving, compression, and skim coating. Weeks five and six will cover detailing and finishing techniques such as abrasion and brushing and firing and surfacing.
Some prior experience with clay and hand-building is beneficial, but not required.

Class Number

1166

Credits

3

Department

Ceramics

Location

280 Building Rm M152

Description

In this course, students will gain exposure to 'real-world' design practice, while developing a range of wood-shop skills. Working closely with a local furniture and home-goods company Offcut, students will design and prototype tabletop objects to be exhibited at the Offcut showroom in Chicago. Through a series of informative presentations, lectures, field trips and skill-building exercises, students will explore many of the challenges facing designers today; financial, social and environmental.

Course readings and discussions will vary, but typically address topics that will help students contextualize different approaches to designing objects while engaging in contemporary cultural concerns of material life cycles and sustainability. Some of the designers and texts we will examine throughout the semester include, but not limited to: Bruno Munari ¿ Art as Design, Junichiro Tanizaki ¿ In Praise of Shadows, Soetsu Yanagi ¿ The Beauty of Everyday Things, Seetal Solanki ¿ Why Materials Matter, Monica Khemsurov & Jill Singer ¿ How to Live with Objects.
The course will consist of introductory skill-building exercises followed by a main project to design an accessory or furniture piece from offcuts of wood provided by Offcut.

Prerequisites

Class is open to Juniors & Below. Seniors must request permission from the instructor.

Class Number

1170

Credits

3

Department

Architecture, Interior Architecture, and Designed Objects

Area of Study

Product Design, Furniture Design, Sustainable Design

Location

Sullivan Center 1242

Description

This course examines neon techniques used in both traditional and current sign making and their application in creating artworks. Contemporary technical developments are explored.

Class Number

1252

Credits

3

Department

Art & Technology / Sound Practices

Area of Study

Art and Science

Location

MacLean B1-16

Description

This course examines neon techniques used in both traditional and current sign making and their application in creating artworks. Contemporary technical developments are explored.

Class Number

1253

Credits

3

Department

Art & Technology / Sound Practices

Area of Study

Art and Science

Location

MacLean B1-16

Description

This course examines neon techniques used in both traditional and current sign making and their application in creating artworks. Contemporary technical developments are explored.

Class Number

1254

Credits

3

Department

Art & Technology / Sound Practices

Area of Study

Art and Science

Location

MacLean B1-16

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

1179

Credits

3

Department

Film, Video, New Media, and Animation

Area of Study

Illustration, Animation

Location

MacLean 717

Description

This course is a comprehensive survey of the history of furniture, including relevant information on residential architecture, the decorative arts and interior design, from the Neolithic Era until the Twenty-First Century. Special attention is given to the developments that have remained most influential within furniture design today, with particular emphasis on the ancient Egyptians, Greeks and Romans, the Middle Ages and the Renaissance, the Baroque, Rococo and Neoclassical eras, revivalism in the Nineteenth Century, early Modernism in the Arts & Crafts and Art Nouveau movements, Art Deco, the Bauhaus and the International Style, Mid-Century Modernism, Late Modernism and Postmodernism.

Through extensive lectures and readings, special focus in this class is devoted to the relationships between furniture and societal customs throughout history, the rise of furniture?s status as a fine art during the Baroque, Rococo and Neoclassical periods, the influence of industrialization, mass production and new technologies and materials on furniture manufacturing in the nineteenth and twentieth centuries, furniture?s role in helping to create and define architectural space within interiors of the twentieth and twenty-first centuries, and the role of individual narratives in developing unique identities and meanings for furniture throughout history.

Students will complete a series of in-class exams along with a final research assignment analyzing a single object chosen from the Art Institute?s furniture collection.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1138

Credits

3

Department

Art History, Theory, and Criticism

Location

Online

Description

This course offers an historical survey of music as a sonic art form from the Futurists to the present day. Emphasis is placed on works that tune the performance environment, explore sound as sculpture, interact with the listener/viewer, and employ intermedia. Class discussions include topics such as basic psycho-acoustics, sound manipulation, conceptual art, installation techniques, and constructivist aesthetics.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1133

Credits

3

Department

Art History, Theory, and Criticism

Location

Online

Description

This course takes a hemispheric approach that unites the Ancient Americas by following the trade routes that moved materials and goods including corn, turquoise, and gold, from the Arctic to Patagonia and connected this vast expanse of land. We start in 12000 BC with the migration of people to different parts of North, South, and Central America and end in 1492 with the arrival of Europeans. Along the way, we consider a diverse range of media, including architecture, basketry, ceramics, textiles, jewelry, painting, sculpture, architecture, and earthworks from across the ancient Americas. Underscoring modes of both continuity and change, we will also survey responses from contemporary artists whose work continues through lines to ancient art made before Conquest.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1134

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 202

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

1304

Credits

3

Department

Printmedia

Area of Study

Books and Publishing

Location

280 Building Rm 220

Description

In this class students will create photographic work inside and outside in the natural elements. This three-week course, Inside / Out, delves into both digital and analog using solar-printing techniques, with a unique focus on printing not only on paper but also on textiles and organic materials. Students will work with a variety of printing processes such as solar fast dye, cyanotypes to transform photographic imaging utilizing digital and analog methods. Students are encouraged to create sculptural contraptions to best capture the sun¿s rays to their preferred substrate of choice.

Students will investigate how artistic internal forces can influence the external changing sociopolitical landscape and vice versa. Class visits will include excursions to Chicago¿s parks and gardens. We will research historical scientific photography and local botany. Through digital printing, students will learn to work with inkjet printers to create negatives, while sun-printing techniques will allow them to create eco-friendly designs on cotton and other textiles. By the end of the course, students will develop a diverse portfolio that includes both traditional photographic prints and textile artwork, blending the technical precision of indoor printing with the organic, unpredictable results of outdoor sun printing to stitch together new photographic forms.

Prerequisites

Prerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent.

Class Number

1189

Credits

3

Department

Photography

Location

280 Building Rm 206

Description

This course draws on the analytic tools of gender and sexuality to examine the construction of power, society, and race in colonial contexts. Drawing on feminist and postcolonial theory, we will look at a broad range of case studies to explore themes in colonial history, such as ?discovery? and conquest, power and resistance, the construction of imperial and gender ideologies, the regulation of intimacy and the creation of race-based hierarchies, the disciplining, regulating, and improvement of colonial bodies, and the multiple intersections and conflicting definitions of gendered or racialized categories and identities. Readings include primary and secondary texts as well as art, images, and film. Evaluation will be based on discussion, writing assignments, and an independent presentation.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1207

Credits

3

Department

Liberal Arts

Area of Study

Gender and Sexuality

Location

Online

Description

This course is designed to offer students a didactic and experiential overview of the field of art therapy. Material covered will include history, theory, and practice of art therapy processes and approaches as well as a survey of populations, settings, and applications. Lecture, readings, discussion, audio-visual presentations, experiential exercises, and guest presentations comprise the structure of this course.

Class Number

1283

Credits

3

Department

Art Therapy

Area of Study

Community & Social Engagement

Location

Sharp 404, Sharp 404

Description

A course, for students working at all levels of printmaking or painting, that introduces a variety of monotyping techniques. Some of the media used in the course are oil based, such as oil pigments and oil-based inks; and some are water based, such as opaque and transparent watercolors, water soluble inks, and tempera paints. Registration and overprinting methods are shown, along with stencil and transferring processes. Instruction consists of demonstrations and private and group critiques.

Class Number

1194

Credits

3

Department

Printmedia

Location

280 Building Rm 221

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

1324

Credits

3

Department

Fashion Design

Location

Sullivan Center 701

Description

Electronic manuscripts combine images, words and potentially other media including sound and video. They include but are not limited to online narratives with interactive, hypertextual, animated, or generative elements; artists books (either online or with digital elements); innovative online portfolio pages; SoundWorks hosted on a webpage with textural or visual elements; and installations with digital narrative components. We will study issues in creating content for electronic manuscripts and explore the software, algorithms, and interfaces with which they are created, including social media platforms, HTML5/CSS; JavaScript, twine, and Inform7.

The works we will study in this course include Matt Huynh's scrolling 'The Boat,' in which a harrowing narrative of Vietnamese 'boat people' refugees unfolds amidst animated falling rain, storm-rocking graphics, voiced laments, light and dark, moving text, and floating images; Carla Gannis' triptych animation:'The Garden of Emoji Delights; Nick Montfort's generative concrete poetry 'Autopia'; Catt Small's 'SweetXheart¿, an interactive game that asks 'Can you get through a week in the life of a modern black woman?; and installed works such as Carolee Schneemann¿s 'Venus Vectors' and Noah Wardrip-Fruin and Camille Utterback's 'Talking Cure'.

Students will traverse examples; create content; learn/practice HTML5/CSS, basic JavaScript, twine, inform7, and social media-based authoring platforms, create work in the media of their choice.

Class Number

1251

Credits

3

Department

Art & Technology / Sound Practices

Area of Study

Digital Imaging, Comics and Graphic Novels, Social Media and the Web

Location

Online

Description

This course explores the sensualness and design of over one hundred years of lingerie making through the use of beautiful fabrics including linen, lace, silk, satin, chiffon and ribbons. Historical references and modern technology are explored through slides, video, books, museums and boutiques for the design of lingerie and under garments. The students drape, make patterns, and fit on a live model. Students are required to make one garment in muslin and their choice of fabric.

Class Number

1173

Credits

3

Department

Fashion Design

Location

Sullivan Center 705, Sullivan Center 706

Description

This course is an introduction to the User Interface (UI) / User Experience (UX) principles, issues, and methods of user-centered responsive web design (mobile, tablet, and laptop).
Students design a website of their choice, in two ways. The first way is making the website with Figma (2 weeks), and the second way translates the Figma website into a simplified HTML/ CSS website made with Dreamweaver (1 week).
Principles, issues and methods explored include: problem-solving processes, content organization / wireframes, navigation strategies, usability principles, interface look and feel, interface design elements, user requirements /specifications, audience analysis, and professional best practices.
This course is for students from all departments who may have no previous web design experience, as well as those with some experience who want to explore web design in new ways. There are no prerequisites for this course, and all necessary software skills will be taught in class.

Class Number

1215

Credits

3

Department

Visual Communication Design

Area of Study

Digital Communication, Digital Imaging

Location

Online

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

1282

Credits

3

Department

Art Therapy

Area of Study

Community & Social Engagement, Gender and Sexuality

Location

Sharp 404, Sharp 404

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

1325

Credits

3

Department

Art & Technology / Sound Practices

Area of Study

Art and Science

Location

MacLean B1-07

Description

This course explores the intersections between psychoanalysis, anthropology, art and childhood, emphasizing common ideas, concepts, techniques and methods across disciplines. The course consists of both theoretical and practical elements. Historical and contemporary ideas on art and human development are explored from multiple theoretical perspectives and interpretations of childhood. In the realm of the practical, students develop and implement collaborative art and ethnography projects guided by shared inquiries, and in opposition to dominant, totalizing narratives.

Class Number

1152

Credits

3

Department

Art Therapy

Area of Study

Class, Race, Ethnicity, Economic Inequality & Class, Community & Social Engagement

Location

Sharp 404, Sharp 404

Description

In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes.
The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students.
The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques.

Class Number

1327

Credits

3

Department

Printmedia

Area of Study

Digital Imaging, Art and Science

Location

280 Building Rm 215, 280 Building Rm 203

Description

In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes.
The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students.
The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques.

Class Number

1327

Credits

3

Department

Printmedia

Area of Study

Digital Imaging, Art and Science

Location

280 Building Rm 215, 280 Building Rm 203

Description

In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes.
The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students.
The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques.

Class Number

1326

Credits

3

Department

Photography

Area of Study

Digital Imaging, Art and Science

Location

280 Building Rm 215, 280 Building Rm 203

Description

In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes.
The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students.
The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques.

Class Number

1326

Credits

3

Department

Photography

Area of Study

Digital Imaging, Art and Science

Location

280 Building Rm 215, 280 Building Rm 203

Description

This is a team-taught, three-week intensive Summer studio class for students who want to investigate painting issues and explore formal and conceptual interests in detail. The faculty consists of two SAIC faculty members and one visiting-artist-in-residence, working in a studio alongside students. The faculty and visiting-artist-in-residence meet with the students individually and conduct rigorous group critiques. Activities include: visiting artists' studios, galleries and museum collections. Individual studios are provided to each student enrolled this course.

Class Number

1198

Credits

3

Department

Painting and Drawing

Location

MacLean Center 11th Floor

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

1217

Credits

3

Department

Visual Communication Design

Area of Study

Social Media and the Web

Location

Online

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

1196

Credits

3

Department

Painting and Drawing

Area of Study

Art and Science

Location

280 Building Rm 311

Description

Materials Lab: Raw & Cooked Materials will explore five techniques of material reuse and invention: densify, reconfigure, transform, design and cultivate. Dispensing with the notion of nature as raw material, standing supply, this course begins with surplus, waste and by-products as an earlier beginning point of meaning and making. This class will look at vernacular architecture, secondary use design and current industrial models of material manufacture to understand both the physical properties of materials and their interconnected social, political and ethical meaning.

Class Number

1330

Credits

3

Department

Sculpture

Area of Study

Politics and Activisms, Art and Science, Collaboration, Public Space, Site, Landscape, Public Space, Site, Landscape, Sustainable Design

Location

280 Building Rm 015

Description

This multi-level course will explore the intersection of art and nature while foraging local plant and earth matter to create pigments for inks and paints. We will delve into the diverse world of pigments, employing various binders to craft water-based mediums such as inks, watercolor, gouache, and acrylic. Students will be introduced to both traditional and experimental techniques and extend beyond the studio, incorporating outdoor, in situ sessions where we actively forage materials.
We will learn about contemporary artists like Ricky Lee Gordan, Sam Falls, Cathy Hsaio, Elisabeth Heying, and more, who source their own pigments, examining how these artists thoughtfully incorporate them into their work. Simultaneously, we will look at the historical roots of pigments, tracing their origins and uncovering their myriad applications across cultures and time periods.
By the end of the course, students will not only possess the skills to create work using self-sourced pigments but will also gain a nuanced understanding of the historical and contemporary significance of pigments in the broader artistic context. This course will provide a unique opportunity to bridge art and sustainability while making a deeper connection to the natural world.

Class Number

1200

Credits

3

Department

Painting and Drawing

Area of Study

Community & Social Engagement, Public Space, Site, Landscape, Art and Science

Location

280 Building Rm 311

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

1181

Credits

3

Department

Liberal Arts

Location

Online

Description

This course explores the aesthetic potential of cast iron as a sculptural material. Students learn to construct and operate a cupola and related equipment for melting and pouring iron. The class culminates in a two-day field trip in which the participants fire the cupola and continuously pour cast iron into prepared molds. Discussions include the historical and contemporary applications of the material.

Prerequisites

Prerequisite: SCULP 2113 or SCULP 3113

Class Number

1269

Credits

3

Department

Sculpture

Location

280 Building Rm 030

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

1255

Credits

3

Department

Art & Technology / Sound Practices

Area of Study

Digital Communication, Art and Science

Location

MacLean 431

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

1139

Credits

3

Department

Art History, Theory, and Criticism

Area of Study

Illustration, Comics and Graphic Novels, Books and Publishing

Location

Online

Description

Personal essayists, according to Philip Lopate, 'are adept at interrogating their own ignorance. Just as often as they tell us what they know, they ask at the beginning of an exploration of a problem what it is they don't know--and why.' In this course, we'll read many essays, including work from 10th-century Japan (Sei Shonagon), 16th-century France (Montaigne), and 21st-century America (Kiese Laymon). We'll explore the many forms a personal essay can take--lists, letters, traditional narrative--to see how writers explore topics that range from trauma to the quotidian concerns of meal prep. We'll discuss how nonfiction functions as an artform distinct from academic scholarship, yet how research elements can be integrated into the personal essay to add depth to a topic.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1301

Credits

3

Department

Liberal Arts

Location

Lakeview - 203

Description

This course, in which we¿ll read three novels and a handful of short stories, focuses on fiction¿s ability to represent interiority. We will read these texts closely in order to understand the various techniques at fiction¿s disposal that are used to narrate consciousness and depict the experience of having a body. At the same time, we will study the ways in which these same works simultaneously situate their characters within their larger social, political, and historical contexts, in this way blending the micro with the macro¿or the internal with the external. Novels by Colson Whitehead, Han Kang, and Anuk Arudpragasam. Short stories by Virginia Woolf, Lydia Davis, and others.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1322

Credits

3

Department

Liberal Arts

Location

Online

Description

Selected issues in music and related areas are studied. Topics vary each semester and may include (but are not limited to): musical structure and form, aural literacy, opera studies, music and words, music and the visual arts, history of recorded music, history of the oral tradition, semiotics, communications theory, and others.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1183

Credits

3

Department

Liberal Arts

Location

Online

Description

Standard textbooks of European music have long emphasized their commitment towards studying the Western part of the continent. When it comes to the eastern region of the mainland, no such textbook exists. The scholarly marginalization of Eastern Europe¿s cultural, religious, and ethnic diversity contributes to negligence and underappreciation of the region. The purpose of this course is to examine the history and arts at several sites in this region and to listen to its music. Through this approach, we will examine cultural identities such as Greek, Byzantine, Slavic, Eastern Orthodox, Russian, Jewish, Ottoman, and Romani. We will visit historical and contemporary sites such as Kaliningrad, Kiev, Cracow, Prague, Budapest, Istanbul, Zagreb, and Ljubljana. We will also listen to ¿classical¿ music of Romanians, Poles, Russians, and Hungarians as well as to ¿folk¿ music from Transylvania, the Balkans, and the Baltic states. The music repertoire of this course spans from medieval Polish and Hungarian manuscripts to the late 20th-century Estonian (Arvo Part) and Russian (Sofia Gubaidulina) composers.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1299

Credits

3

Department

Liberal Arts

Location

Online

Description

Most of us consider friendship an essential element of a happy and complete human existence. However, friendship is subject to contingencies that are mainly out of our control (e.g., loss of a friend through death). This endangers our chance for happiness. So by including friendship in our concept of a complete and happy life we seem to put our happiness in jeopardy. Why then insist on cultivating friendship and giving it an important role in happiness? In this course, we explore the role of friendship in Aristotelian, Kantian and utilitarian (Mill's) accounts of morality. While all three philosophers recognize the importance of friendship and its role in human happiness, friendship figures differently in their moral theories, a difference that can be partly explained by the differences in the larger questions each of these thinkers asks.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1186

Credits

3

Department

Liberal Arts

Location

Lakeview - 205

Description

About 9 billion years after the Big Bang, our Solar System's sun ignited from the gravitational collapse of a molecular cloud. This course explores the 4.6 billion years of subsequent chemical evolution of the Solar System. Our tool of study, cosmochemistry, lies at the crossroads of chemistry, physics, geology, astronomy, and biology. As such, we can use it to help us answer some fundamental questions, including: What are the elemental and molecular building blocks of our Solar System? Under what conditions, and by which processes, did these building blocks assemble into planets, asteroids, moons, comets, meteorites, and interstellar dust? What is the Earth made of, how did it evolve over time, and why do we need to study extraterrestrial materials to understand our home planet? Where did water come from and what led to the rise of life on Earth? How can we use this knowledge to guide future space exploration?

Formerly called: The Universe (SCIENCE 3212) - students cannot receive credit for this course if they have already received credit for The Universe (SCIENCE 3212)

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1307

Credits

3

Department

Liberal Arts

Location

Lakeview - 203

Description

A monolith manifests in orbit around Jupiter, emitting a signal. A beacon? A winter-bound planet¿s denizens are androgynous with powerful predictive powers. An aberration? Space travel is enabled by the ingestion of enormous quantities of a geriatric spice a messianic figure suddenly learns to manipulate. A drug trip?! Among popular genres, science fiction is the riskiest conceptually and among the trickiest to master. Because of its relative narrative freedom, science fiction has been a place for some of the wildest, most outlandish, yet frequently astute speculation on the experience of religion that can be found in all modern literature. In this course, you¿ll read some novels (by William Gibson, Frank Herbert, and Ursula K. LeGuin), short stories, (by Ted Chiang, Arthur C. Clarke, and Raccoona Sheldon), and view some films (2001: A Space Odyssey, Star Wars, and Close Encounters), and study the work of some theorists of religion (Freud, Jung, Le¿vi-Strauss, and Eliade). 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

1187

Credits

3

Department

Liberal Arts

Location

Lakeview - 205

Description

A monolith manifests in orbit around Jupiter, emitting a signal. A beacon? A winter-bound planet¿s denizens are androgynous with powerful predictive powers. An aberration? Space travel is enabled by the ingestion of enormous quantities of a geriatric spice a messianic figure suddenly learns to manipulate. A drug trip?! Among popular genres, science fiction is the riskiest conceptually and among the trickiest to master. Because of its relative narrative freedom, science fiction has been a place for some of the wildest, most outlandish, yet frequently astute speculation on the experience of religion that can be found in all modern literature. In this course, you¿ll read some novels (by William Gibson, Frank Herbert, and Ursula K. LeGuin), short stories, (by Ted Chiang, Arthur C. Clarke, and Raccoona Sheldon), and view some films (2001: A Space Odyssey, Star Wars, and Close Encounters), and study the work of some theorists of religion (Freud, Jung, Le¿vi-Strauss, and Eliade). 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

1300

Credits

3

Department

Liberal Arts

Location

Lakeview - 203

Description

In this course, we will take various Japanese pop culture genres including comics, anime, food, fashion, music, etc. and examine the interplay between local and global culturescapes. Students are expected to critically inquire into the reality and complexity of people's lives in Japan as reflected in cultural products and to explore cultural transformation in Japan as a part of the dynamics of globalization. Locally 'common' value and knowledge is challenged as culture traverses borders. From the expansion of Japanese fan communities to the Asia-Pacific region and Brazil, to feminist criticism of gender representation, we will employ case studies to overcome our conscious or unconscious exoticism and to deepen our understanding toward Japanese culture in global context. Key points of inquiry will include: what racial and ethnic relations/tensions underlying global popular culture; economic and political factors driving trends in Japanese popular culture; gender, sexuality, and the politics of representation.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1210

Credits

3

Department

Liberal Arts

Location

MacLean 111

Description

In this course, we will introduce the interdisciplinary study of cities, urbanization, and the environment in the social sciences. We will cover foundational and contemporary readings in sociology, from history to urban studies/planning, architecture, and anthropology. After introducing core concepts, we will explore case studies on industrialization and deindustrialization, pollution and toxic exposure, energy/electrification, urban ¿green¿ spaces, and climate change/migration. We will focus on a series of Chicago-area case studies and expand to study other ¿planetary cities¿ such as Houston, Buenos Aires, and Abu Dhabi. Readings may include foundational texts from the Chicago School of Sociology, W.E.B. Du Bois, William Cronon, and Saskia Sassen, as well as contemporary texts from Gökçe Günel, Hillary Angelo, and Javier Auyero.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1305

Credits

3

Department

Liberal Arts

Location

MacLean 111

Description

Neuroscience is a fascinating field of study in which the mechanisms of brain function are being unraveled at an incredibly fast pace. This course will focus on the foundations of neuroscience, moving from the cellular level to understanding entire systems. We will extend our knowledge of how the brain works to further understand thoughts, beliefs, emotions, personalities, and how memories and experiences are formed. This course will also explore current methods in neuroscience research and experimental design.

Readings will be pulled from neuroscience textbooks, current research articles/reviews, and other texts from well-known neuroscientists. Building from a systematic approach to understanding the brain, we will also discuss how the experience and production of art impacts and shapes our minds.

Course work includes weekly reading and written homework assignments. The final consists of a written paper which will focus on a topic of neuroscience that the student is particularly interested in, as well as a short oral presentation of their topic to their peers. Active participation, willingness to creatively hypothesize about brain function, and an interest in the mind are required in order for us all to learn and enjoy!

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1309

Credits

3

Department

Liberal Arts

Location

Lakeview - 203

Description

Why do birds migrate? When do whales sing? What does a bee's dance mean? Animals have fascinating behaviors that have both puzzled and amazed observers. This class will explore current theories behind these actions. The lecture/discussion aspects of this course will focus on theories and concepts while the lab component will focus on collecting (Virtual zoo camera) observational data on local fauna and coming up with hypothesis to explain the observed behaviors. Student-collected original data will then be discussed and new or additional theories proposed. This course includes VIRTUAL Zoo camera data observations from any zoo around the world that has zoo cameras!

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1202

Credits

3

Department

Liberal Arts

Location

Online

Description

Since the early 1960s, artists have increasingly experimented with alternative methods of disseminating their ideas, using books or records, occasionally collaborating in periodicals, and other uncategorized projects. Students investigate the increasing acceptability of such activities and discuss a broad variety of publishing, from guerrilla fly-posting through mail-art magazines to the exhibition-in-a-book, including the unconventional artists' bookwork. Examining both well-known examples and obscure occurrences, the course attempts to place alternative art publishing in a contemporary context.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1140

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 202

Description

This course is designed to inspire the understanding of the significance of plants to human life. The beauty and diversity of nature is expressed most vividly in the flora of the Earth. Plants are essential for the survival of all living animals, and form a dynamic relationship with them in the environment. As well as a source of wonder, plants provide food, energy, medicine, and innumerable commercial products. The course will explore plant biology, the form and function of plant types, modes of growth and reproduction, and genetics and genetic engineering.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1306

Credits

3

Department

Liberal Arts

Location

Lakeview - 1503

Description

Horror films use psychological forces and states of mind, such as fear, terror, and guilt, to show the consequences violating ethical, moral, religious, and social order. Science-fiction films take the good and evil of present-day society and transport them to another time, most often the future. Like classical and urban myths, these genres often offer cautionary tales. They use symbol and metaphor to show the relationship between individual actions and cultural values while critiquing the status quo. In examining both types of film, this course will also reveal something about the creation, circulation, representation, and function of mythic imagery and narratives in culture.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1141

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 203

Description

This course explores the literature aimed at explaining human motives, cognition, perception, relationships & behavior from the point of view of natural selection & the premises and research of evolutionary psychology. The focus will be on the on-average description of human nature. In particular, this course will address theories, research and findings associated with the design of the human mind, survival, short-term & long-term mating strategies, social status, dominance, aggression, conflict between the sexes, and the future of an integrated psychology.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1329

Credits

3

Department

Liberal Arts

Location

MacLean 112

Description

This course provides an introduction to social theories on tourism and travel activities. Drawing from anthropological and ethnographic research, students will explore the significance of tourism over the 20th century, developing alongside travel and information technologies well into present day tourism behavior and the global leisure industry. Media including travel photography, travelogue, home movies, or virtual reality - all provide sociomaterial examples of the significance of the tourist gaze and imaginary not only for personal recreation, but also influencing representation of the global south, in historically distorted and problematic ways. Course readings and films challenge students to consider these theories in the contexts of the varied sites and forms of tourism practiced around the world today. Learning content allows students to survey and examine mass tourism as well as tourism that makes an effort to get 'off the beaten track' in search of authenticity and adventure. Topics covered span from heritage, eco, and sex tourism, to ¿voluntourism,¿ dark and tragic tourism, including ¿staycations¿ and ¿holistays.¿ Students apply these insights during experiential learning activities of local tourist sites, commercialism, and cultural production of leisure settings in Chicagoland. Students engage in ethnographic exercises, submit a photo essay, and plan a dream excursion, implementing ethical considerations addressed in the course via travel design, and future tourism activities.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1208

Credits

3

Department

Liberal Arts

Location

Lakeview - 205

Description

Ritual treatment of the dead is both unique to humans and a human universal. This course is a global exploration of mortuary archaeology, extending from evidence through the first ritual burials (perhaps 300,000 years ago or more), through historic slave cemeteries. Using a biocultural approach, we will examine the information that archaeologists and bioarchaeologists glean from human remains, grave and cemetery architecture, and portable material culture, including ceramics, textiles, metalwork, and so on.

Prerequisites

Prerequisite: First Year English requirement.

Class Number

1209

Credits

3

Department

Liberal Arts

Location

Online

Description

The issues of modern philosophy have been inseparable from critical aspects of social modernity, such as the issue of 'capitalism.' From the 18th Century Enlightenment and 1789 French Revolution to the social revolutions of the 19th and 20th centuries, philosophers have radically interrogated problems of consciousness and subjectivity in terms of modern society, and have been concerned with possibilities for social transformation and emancipation. This course begins with the trajectory from Rousseau and Adam Smith to Kant and Hegel, proceeding to Marx and his followers Lukacs, Korsch and Althusser, and opposing accounts of revolutionary possibilities by Heidegger, Foucault and Adorno.

Prerequisites

Prerequisite: Art History Survey Requirement

Class Number

1150

Credits

3

Department

Art History, Theory, and Criticism

Location

Online

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and a meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Prerequisites

Prerequisite: 2900 course

Class Number

1160

Credits

3

Department

Career and Professional Experience

Location

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and a meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Prerequisites

Prerequisite: 2900 course

Class Number

1161

Credits

3

Department

Career and Professional Experience

Location

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and a meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Prerequisites

Prerequisite: 2900 course

Class Number

1162

Credits

3

Department

Career and Professional Experience

Location

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and a meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Prerequisites

Prerequisite: 2900 course

Class Number

1163

Credits

3

Department

Career and Professional Experience

Location

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Class Number

1154

Credits

1.5 - 3

Department

Career and Professional Experience

Location

Description

The beloved writer Italo Calvino penned a book called Six Memos for the Millennium. In it, he describes a variety of qualities that writing can have. These qualities are: lightness, quickness, exactitude, visibility, and multiplicity.
In our class, we will meet day by day to examine stories and novellas in light of the points that Calvino makes. Students will also be asked to make creative work in class following exercises that will be provided.
Participants will obtain a way of looking at fiction that will make their own practice of art and writing agile and sharp.

Prerequisites

Prerequisite: WRIT 1102 or WRIT 2040 or permission of the instructor.

Class Number

1297

Credits

3

Department

Writing

Location

Lakeview - 808

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Class Number

1155

Credits

1.5 - 3

Department

Career and Professional Experience

Location

Description

This is a three week class designed to take the writer from a play's beginning to its completion. We will make something brand new, but also look at your one act plays that you have begun but not completed.
We will write in each session and read from the published work of significant playwrights, including Suzanne Lori-Parks, Caryl Churchill, Jenny Magnus and Edward Albee. The class will conclude with a stage reading of your work. This course is particularly recommended for poets, film makers, performance artists, playwrights and artists looking for a new direction.

Prerequisites

Prerequisite: WRIT 1102 or WRIT 2040 or permission of the instructor.

Class Number

1298

Credits

3

Department

Writing

Location

Lakeview - 808

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Class Number

1156

Credits

1.5 - 3

Department

Career and Professional Experience

Location

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Class Number

1157

Credits

1.5 - 3

Department

Career and Professional Experience

Location

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Class Number

1158

Credits

1.5 - 3

Department

Career and Professional Experience

Location

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Class Number

1159

Credits

1.5 - 3

Department

Career and Professional Experience

Location

Description

This 3-week summer intensive course will explore the intersection of performance and social justice through lectures, discussions, performance exercises, and exhibition. Students will create individual and collaborative performances that explore individual and community based strategies of resistance including, but not limited to, embodiment and enfleshment, protest, resistance, talking back to power, and going under the radar. Students will create three works of performance, installation, documentation and live performance in this course where one will be presented in the SAIC galleries and the final in a public event in 280 building. Two national and international guest artists/scholars will join the course to lecture, lead workshops, and respond to student work.

The course explores the relationship between performance and social justice which takes on a greater sense of urgency today as we face what Christina Sharpe would term `immanent and imminent death¿ (p.13) That is, the persistent threat of domination and the lived experience of marginalized communities. Therefore, how do we attend to physical, social, and figurative annihilation through our art practices?

Available for credit and non-credit enrollment.

Class Number

1268

Credits

3

Department

Performance

Location

280 Building Rm 012, MacLean 2M, Lakeview - 1608, 280 Building Rm 015

Description

This 3-week summer intensive course will explore the intersection of performance and social justice through lectures, discussions, performance exercises, and exhibition. Students will create individual and collaborative performances that explore individual and community based strategies of resistance including, but not limited to, embodiment and enfleshment, protest, resistance, talking back to power, and going under the radar. Students will create three works of performance, installation, documentation and live performance in this course where one will be presented in the SAIC galleries and the final in a public event in 280 building. Two national and international guest artists/scholars will join the course to lecture, lead workshops, and respond to student work.

The course explores the relationship between performance and social justice which takes on a greater sense of urgency today as we face what Christina Sharpe would term `immanent and imminent death¿ (p.13) That is, the persistent threat of domination and the lived experience of marginalized communities. Therefore, how do we attend to physical, social, and figurative annihilation through our art practices?

Available for credit and non-credit enrollment.

Class Number

1268

Credits

3

Department

Performance

Location

280 Building Rm 012, MacLean 2M, Lakeview - 1608, 280 Building Rm 015

Description

This 3-week summer intensive course will explore the intersection of performance and social justice through lectures, discussions, performance exercises, and exhibition. Students will create individual and collaborative performances that explore individual and community based strategies of resistance including, but not limited to, embodiment and enfleshment, protest, resistance, talking back to power, and going under the radar. Students will create three works of performance, installation, documentation and live performance in this course where one will be presented in the SAIC galleries and the final in a public event in 280 building. Two national and international guest artists/scholars will join the course to lecture, lead workshops, and respond to student work.

The course explores the relationship between performance and social justice which takes on a greater sense of urgency today as we face what Christina Sharpe would term `immanent and imminent death¿ (p.13) That is, the persistent threat of domination and the lived experience of marginalized communities. Therefore, how do we attend to physical, social, and figurative annihilation through our art practices?

Available for credit and non-credit enrollment.

Class Number

1268

Credits

3

Department

Performance

Location

280 Building Rm 012, MacLean 2M, Lakeview - 1608, 280 Building Rm 015

Description

In consultation with Study Abroad, undergraduate students may spend up to two semesters (30 credit hours) at approved partner schools, or at another Association of Independent Colleges of Art and Design (AICAD) school in North America. Various types of credit can be earned depending on the host school?s offerings. Approval from Study Abroad is required. The process has two steps; the student first submits an application and portfolio to Study Abroad and it is reviewed by a faculty panel. If approved to proceed, the student then applies to the proposed host school. Information and resources about International Exchange, AICAD Exchange, and Tuition Transfer programs are available at Study Abroad.

Class Number

1323

Credits

3 - 18

Department

Off Campus

Location

Description

This course examines images of women and the work of women artists in India, engaging with broader topics in feminist and postcolonial theory. We will investigate indigenous responses to colonial and to contemporary critiques of the female form in Indian art, discuss the agency of women artists in the twentieth century, and examine how women artists interpreted the female form. This is an advanced undergraduate course that emphasizes research and writing.

Artists discussed in this class include Amrita Sher-Gil, Nilima Sheik, Shazia Sikander, Mithu Sen and Pushpamala

Students will submit two 3-5page papers and one final studio project. Students will also lead discussion on one of the readings assigned in class.

Prerequisites

Prerequisite: Art History Survey Requirement OR Graduate Student

Class Number

1142

Credits

3

Department

Art History, Theory, and Criticism

Location

Online

Description

Between its incorporation in 1833 and the world's fair of 1933, Chicago was internationally the most important site for development of modern architecture. From the commercial buildings of Burnham and Root or Adler and Sullivan to the domestic architecture of Frank Lloyd Wright and the Prairie School, Chicago was on the 'cutting edge.' This architectural 'century of progress' is explored through field trips and on-site lectures. Chicago and its suburbs are the class's 'museum.'

Prerequisites

Prerequisite: Art History Survey Requirement OR Graduate Student

Class Number

1148

Credits

3

Department

Art History, Theory, and Criticism

Location

Lakeview - 202

Description

This interdisciplinary studio course is designed to help students recognize patterns of inquiry within their studio work while proceeding toward an outward-facing practice beyond graduation. An assessment of previous projects will be the starting point for an ongoing critical examination of your creative practice, through which you will be asked to contextualize and position your work in the art-worlds of the 21st Century. This course is a forum for in-depth individual and group critiques with technical and conceptual discussions tailored to your practice and research.

Readings will but typically include Duty Free Art in the Age of Planetary Civil War by Hito Steyerl; What Art Is and Where It Belongs by Paul Chan; selections from Delirium and Resistance: Activist Art and the Crisis of Capitalism Gregory Sholette; as well as various artist interviews from anthologies such as Tell Me Something Good: Artist Interviews from The Brooklyn Rail. The book Art/Work - Everything You Need to Know (and Do) As You Pursue Your Art Career will be our practical guide for preparing for life after school. In addition to various screenings and field trips, class visits by local artists and curators will provide the opportunity for conversation about the lived experience of sustaining a creative practice.

With an emphasis on faculty mentorship, class meetings will support the development of a focused, self-initiated Senior Project, an extended artist presentation, in-depth writing about one's work, and the tools for maintaining an independent studio practice.

Prerequisites

Prerequisite: 3900 course

Class Number

1153

Credits

3

Department

Undergraduate Studies

Location

MacLean B1-04

Description

What are the concerns that drive one's creative practice? How does one set the terms for its future development? Spine Intensive is a course for students needing to complete Sophomore Seminar, the Junior Professional Practice Experience, or the Capstone. The course 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. Students will receive individual advising sessions with lead faculty as they work toward generating documentation of their work, a statement of purpose, and other professional practice materials to support their practice post-graduation.

Spine Intensive can only be taken once to count for credit.

Class Number

1249

Credits

3

Department

Undergraduate Studies

Location

280 Building Rm 120

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Class Number

1224

Credits

1.5 - 3

Department

Career and Professional Experience

Location

Description

This course is designed to provide students an opportunity to gain experience as interns in professional arts and design environments and prepare for professional life after SAIC. During the semester, faculty provide in-depth mentorship and act as liaison with the internship site supporting students meet their learning goals as outlined for the semester. Through group meetings and online discussions, students engage with a peer cohort of students participating in a variety of internships. Students work on-site at internships for a total of 140 hours (approx 14 hours per week) for the term. In addition to successfully completing the internship, students will conduct an informational interview with their employer, attend 4 class meetings and an onsite meeting with the faculty and supervisor, complete an internship supervisor evaluation, revise their resume, and update their online portfolio, website, or professional profile.

Students are required to secure an internship prior to the start of the semester. Internships must be approved by the Career and Professional Experience (CAPX) office. Students are encouraged to meet with a CAPX advisor for assistance with researching and applying for internships. In order to begin the internship approval process students should go to https://bit.ly/35vmTTM. Upon approval, course registration is managed by CAPX.

Note that international students must receive CPT authorization prior to participating in an off-campus internship.

Internships may be in-person, hybrid, or virtual; however all four class meetings are virtual. Class meeting day and time are determined by the faculty.

Class Number

1225

Credits

1.5 - 3

Department

Career and Professional Experience

Location

Description

This classes introduces topics, themes, methods and theories of modern and contemporary art from the late 19th century to the present. The class is geared at incoming MFA students to engage in issues relevant to art historical methods to supplement their artistic practice. Individual instructors will adapt the content based on their individual areas of expertise.

Content will vary depending on instructors but include key texts in Modern and Contemporary art history.

The course will include reading by relevant scholars in the field of Modern and Contemporary Art. Students will turn in weekly responses, take quizzes and tests and possibly write a research paper at the end of the semester

Prerequisites

This course is primarily for incoming MFA students, and students should only take this survey once.

Class Number

1219

Credits

3

Department

Art History, Theory, and Criticism

Location

MacLean 112

Description

The aim of the Summer intensive is for students to develop the skills essential to the practice of design and communicating design ideas. The goal is for students to establish a fluid working process that utilizes integrated digital and analog processes as a means to move through ideation, iteration, material testing, visualization and design communication. To this end, the class provides training in software including Adobe Suite, Rhino, Bunkspeed, computer aided fabrication (CNC milling, 3D scanning and printing, laser cutting), as well as manual techniques such as rapid sketching, various prototyping techniques, data visualization and visual communication strategies. Working both collaboratively and independently students will consider Chicago as a lab and explore its potential as a source and resource for design practice. Existing design skills will honed to new levels through the integration of studio work, demonstrations and hands-on workshops. You must be a Master of Design in Designed Objects student to enroll in this course.

Prerequisites

You must be a Master of Design in Designed Objects student to enroll in this course.

Class Number

1221

Credits

6

Department

Architecture, Interior Architecture, and Designed Objects

Location

Sullivan Center 1227

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1231

Credits

3

Department

Masters in Fine Arts Low Residency

Location

Sharp 314

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1232

Credits

3

Department

Masters in Fine Arts Low Residency

Location

Sharp 328

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1233

Credits

3

Department

Masters in Fine Arts Low Residency

Location

Sharp 315

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1234

Credits

3

Department

Masters in Fine Arts Low Residency

Location

Sharp 329

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1235

Credits

3

Department

Masters in Fine Arts Low Residency

Location

Sharp 326

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1236

Credits

3

Department

Masters in Fine Arts Low Residency

Location

Lakeview - 1428

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1237

Credits

3

Department

Masters in Fine Arts Low Residency

Location

MacLean 501

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1238

Credits

3

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1241

Credits

3

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Class Number

1230

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Class Number

1313

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Class Number

1314

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Class Number

1315

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Class Number

1316

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Class Number

1317

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Class Number

1318

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Class Number

1319

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

This seminar consists of weekly lectures, colloquia, and studio visits. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Class Number

1320

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

This is a specialized professional practice course designed to prepare students for active participation in the on-campus as well as online components of the Low-Residency MFA. Students will be trained on digital platforms including Canvas, SAIC's learning management system. Students will be introduced to online library resources and to all digital research, communication, and dissemination tools necessary for use during off-campus semesters. Students can be authorized on general as well as specialized equipment for use during the residency.

Class Number

1229

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

Sharp 1117

Description

This is a specialized professional practice course designed to prepare students for active participation in the on-campus as well as online components of the Low-Residency MFA. Students will be trained on digital platforms including Canvas, SAIC's learning management system. Students will be introduced to online library resources and to all digital research, communication, and dissemination tools necessary for use during off-campus semesters. Students can be authorized on general as well as specialized equipment for use during the residency.

Class Number

1247

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

Sharp 1116

Description

The thesis, as the final requirement to be fulfilled for the Masters of Art degree in Modern Art History, Theory, and Criticism, demonstrates the student's ability to present a lucid, sustained work of scholarly research and critical thinking on a specific topic in the field of 19th, 20th and 21st-century art. The thesis indicates the student's thorough command of the available documentation and scholarly research on the subject and suggests clearly-defined objectives and a methodologically-sound approach to a fresh assessment of the topic. This seminar assists the student in selecting, researching, analyzing, designing, organizing, and writing the Art History thesis. Students learn how to select and narrow their topic by organizing materials; preparing an outline, abstract, and bibliography; and defending their proposal before a faculty panel. During this semester, they select their thesis committee and complete most of the research. This seminar is required for the Master of Arts in Modern Art History, Theory, and Criticism and is taken in the second or third semester of course work.

Prerequisites

You must be a Master of Art History student to take this course.

Class Number

1220

Credits

3

Department

Art History, Theory, and Criticism

Location

Online

Description

Section 001: Thesis Fieldwork - The individual student and instructor will meet at agreed times to provide supervision and dialogue relating to the clinical experience. The choice of field site is agreed upon by student, instructor, and site supervisor. Students will spend 12 hours per week for 3 semester hours credit. This course can be taken for 3 or 6 semester hours. Section 002: Career and Professional Experience Elective Internship - Graduate CAPX education and internships in art education allow students to work in part-time, art-related CAPX positions in approved organizations and institutions. Students are assigned a CAPX faculty adviser. Participation requires a total of 210 hours, with a minimum weekly average of 15 work hours with the internship organization. Call the Career and Professional Experience Program at 312/ 499-4130 for further information. Permission to register for this course must be obtained from the director of the CAPX Program.

Prerequisites

You must be a Master of Arts in Art Education student to take this course.

Class Number

1218

Credits

3

Department

Art Education

Location

Sharp 403

Description

This seminar will look at the mental faculty of attention and the role it plays in the production and reception of art, specifically how attention mediates experience between artists and viewers. We will examine the attempt to direct attention as a basis for making meaning within artworks, particularly in moving-image, spatial, and place-related work. We will also ask how the issues of attention and attention span that have become so ubiquitous, may impact the art context. In short, we will take up attention as an attribute, tool, or condition for making work in relation to other subjects rather than as a subject in itself, treating attention as a register for looking at artworks. The seminar will consist of readings and screenings drawn from philosophy, psychology, art theory, film theory, fiction, and other disciplines.

Class Number

1222

Credits

3

Department

Masters in Fine Arts Low Residency

Location

MacLean 302

Description

Framed by the Low-Residency MFA theme of 'Poetics,' this course is an art historical investigation into perception in connection with aesthetics in four key areas: Black Arts Movement, Afro-Futurism, Ritual Art Performance in the African Diaspora, and African Art and Design. With an eye to the concept of ?sculpting space? and location in the liminal and the margins as defined by bell hooks, we will consider perceptions of Self and Other, identity expression as intentional resistance and creative expression, ?Africa? and notions of ?African art,? and performative modes of production. How does work become canonized and remembered? How do movements form a foundation for contemporary practices? This course understands the artist as a kind of divine sculptor, trickster-DJ-griot, considering methodologies such as oral history, indigenous systems, and community legacies to critique time as linear and interrogate perceptions of body, location, belonging, and what it means to center oneself via art.

Class Number

1223

Credits

3

Department

Masters in Fine Arts Low Residency

Location

MacLean 301

Description

This course examines an artist?s professional practice tactically, within the context of a contemporary networked international art world in which online presence rivals real-world gallery and museums, and media documentation of works can be as significant as physical versions in their impact. In relation to these transformations, traditional museum curation has morphed into a hybrid practice - museumology - in which curators work in teams with education and media departments and museums consider ?community outreach? rather than archiving or connoisseurship their primary missions. The art world is, like most others, a shifting ground post ubiquitous media. Students will consider the Internet, the possibility of tactical virality and their own artistic identities in relation to such transformations through site visits and active discussion with members of the Chicago gallery and museum community. These will be augmented by online Skype meetings with organizers and art professionals outside of Chicago in both the national and international context.

Class Number

1228

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

Sharp 329

Description

This course examines an artist?s professional practice tactically, within the context of a contemporary networked international art world in which online presence rivals real-world gallery and museums, and media documentation of works can be as significant as physical versions in their impact. In relation to these transformations, traditional museum curation has morphed into a hybrid practice - museumology - in which curators work in teams with education and media departments and museums consider ?community outreach? rather than archiving or connoisseurship their primary missions. The art world is, like most others, a shifting ground post ubiquitous media. Students will consider the Internet, the possibility of tactical virality and their own artistic identities in relation to such transformations through site visits and active discussion with members of the Chicago gallery and museum community. These will be augmented by online Skype meetings with organizers and art professionals outside of Chicago in both the national and international context.

Class Number

1312

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

Sharp 326

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1227

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

Sharp 328

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1242

Credits

1.5

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

Students in their final residency enroll in Thesis Studio: Public Presentation, a two-part course that guides students through their thesis presentation that will be given in the Sullivan Galleries during the MFA Thesis Exhibition. The first portion functions as a seminar, during which students learn about historical modes and forms of the Artist?s Talk and prepare for their own presentations. The second portion of the course consists of the thesis presentations themselves, a culminating statement in the form of a public talk delivered to the entire graduating cohort along with visiting artists and SAIC faculty.

Class Number

1239

Credits

3

Department

Masters in Fine Arts Low Residency

Location

MacLean 301

Description

Students in their final residency enroll in Thesis Studio: Public Presentation, a two-part course that guides students through their thesis presentation that will be given in the Sullivan Galleries during the MFA Thesis Exhibition. The first portion functions as a seminar, during which students learn about historical modes and forms of the Artist?s Talk and prepare for their own presentations. The second portion of the course consists of the thesis presentations themselves, a culminating statement in the form of a public talk delivered to the entire graduating cohort along with visiting artists and SAIC faculty.

Class Number

1244

Credits

3

Department

Masters in Fine Arts Low Residency

Location

To Be Announced

Description

Guided Studies are intensive, self-driven courses of study that have a clear rationale for their configuration and articulate an expressed need in terms of a student's scholarly, material, and theoretical research. As a 3 credit course, a Guided Study constitutes 135 hours of study and production on the part of the student, including four meetings (virtual or otherwise) with a supervising faculty who has expertise in the research areas. On the Guided Study syllabus co-produced by the LRMFA student and supervising faculty, expected research accomplishments must be formulated, alongside a course description, learning objectives, evaluation criteria, a proposed timeline, a communication plan, and a suggested reading list or bibliography. Open to Low Residency MFA students only.

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1240

Credits

3

Department

Masters in Fine Arts Low Residency

Location

Description

Guided Studies are intensive, self-driven courses of study that have a clear rationale for their configuration and articulate an expressed need in terms of a student's scholarly, material, and theoretical research. As a 3 credit course, a Guided Study constitutes 135 hours of study and production on the part of the student, including four meetings (virtual or otherwise) with a supervising faculty who has expertise in the research areas. On the Guided Study syllabus co-produced by the LRMFA student and supervising faculty, expected research accomplishments must be formulated, alongside a course description, learning objectives, evaluation criteria, a proposed timeline, a communication plan, and a suggested reading list or bibliography. Open to Low Residency MFA students only.

Prerequisites

Prerequisite: Must be enrolled in the Low-Residency MFA Program.

Class Number

1243

Credits

3

Department

Masters in Fine Arts Low Residency

Location