
Kwame Gomez
Graduate Curriculum & Courses
Graduate Curriculum & Courses
The Master of Fine Arts (MFA) program is designed to offer maximum flexibility in addressing the needs of each individual student. Following admission through a department, students design their two-year plan of study based on optimizing the offerings and opportunities available throughout SAIC.
Area | Credit Hours |
Studio
| 24
|
Seminar
| 12 |
Art History
| 12 |
Electives—any course in any area at 3000-level or above
| 12 |
Participation in four graduate critiques | |
Participation in ONE of the following as appropriate to artistic practice: Graduate Exhibition, Graduate Performance Event, Graduate Screenings. Students who wish to use an alternative venue or presentation outside of these options must receive permission from the dean of graduate studies. | |
Total Credit Hours | 60 |
* Students who wish to use an alternative venue or presentation outside of these options must receive permission from the Dean of Graduate Studies. The AIADO Department encourages students in their MFA design programs to participate in the AIADO and Fashion Graduate Exhibition.
Degree Requirements and Specifications
- Completion schedule: You have a maximum of four years to complete your MFA in Studio degree. This includes time off for leaves of absence. Students will have access to studios for four semesters only.
- Transfer credits: You must complete a minimum of 45 credit hours in residence at SAIC. You can request up to 15 transfer credits at the time of application for admission, which are subject to approval at that time. No transfer credits are permitted after a student is admitted.
- Art History requirement: MFA students are required to take ARTHII 5002 Graduate Survey of Modern and Contemporary Art OR ARTHI 5120 Survey of Modern and Contemporary Architecture and Design. Art History courses must be at the 4000-level and above.
- Undergraduate studio courses: Graduate students are permitted no more than one undergraduate studio course (3000-level and above) per semester without permission of the Dean of Graduate Studies. Courses at the 1000 and 2000-level are allowed only with permission.
- Full-Time Status Minimum Requirement: 12 credit hours
MFA 6009 Graduate Projects
MFA 6009 Graduate Projects advising, an ongoing individual dialogue with a wide range of faculty advisors, is at the heart of the MFA program at SAIC, encouraging interdisciplinary study across the curriculum. Standard enrollment consists of two MFA 6009 Graduate Projects advisors, one graduate-level seminar, and an art history course each semester. The remainder of credits required for the full-time 15-credit hour load may include academic or studio electives. All MFA students must register for a minimum of one and no more than two MFA 6009 sections each semester. Students may request permission from the Graduate Program Advisor to take a third MFA 6009 section after priority registration.
In their final year, students must take one MFA 6009 Exhibitions section. The advising and grade for this course will be tied to the final exhibition. When taking undergraduate studio coursework, the student is responsible for understanding the faculty member’s expectations about completion of assignments, attendance, and any other criteria for earning credit. MFA students interested in completing a written thesis must take a research course and MFA 6009 Research section and obtain approval from the Associate Dean of Graduate Studies.
Graduate Critiques
As one of the principal means of assessment each semester, you will be required to participate in Critique Week, a week-long schedule of critiques during which classes are suspended.
Fall semester critiques are organized by department with panels representing the discipline. This provides you with an opportunity to understand the department’s expectations, have your work reviewed from a disciplinary point of view, and to reiterate the expectations for graduate study.
Spring semester critiques are interdisciplinary, with panel members and students from across SAIC disciplines. Interdisciplinary critiques allow for a broad range of responses to your work, and are intended to assess the success of your work for a more general, albeit highly informed audience. Critique panels include faculty, visiting artists, and fellow graduate students.
Graduate Exhibition or Equivalent
At the conclusion of your studies, you will present work in the SAIC Graduate Thesis Exhibition, other end-of-year events at SAIC, or the Gene Siskel Film Center—or arrange with the graduate dean or division chair for an alternative thesis of equal professional quality. Each year more than 200 graduate students exhibit work, screen videos and films, and present time-based works, writings, and performance to a collective audience of 30,000 people.
Students wishing to install work around prevalent themes, strategies or stylistic affinities can participate in a juried and curated section of the SAIC Graduate Thesis Exhibition. A faculty and staff committee conducts extensive studio visits and as a collaborative project with student participants, organizes and installs the show in designated space at the exhibition.
Undergraduate Courses
MFA students are advised to understand the expectations of their faculty when enrolled in undergraduate studio classes. Although graduate students are an asset to the group dynamic, faculty requirements for graduate students in undergraduate classes are variable. The student is responsible for understanding the faculty member's expectations about completion of assignments, attendance, and any other criteria for earning credit. To assure that graduate students are working at degree level, they are permitted no more than one undergraduate studio course (3000 level and above) per semester without permission of the dean of graduate studies. Courses at the 1000 and 2000 level are allowed only with permission.
Course Listing
Title | Catalog | Instructor | Schedule |
---|---|---|---|
Painting Practice | 2001 (001) | Alex Cohen | Mon
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (002) | Larissa Setareh Borteh | Mon
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (003) | Sebastian Thomas | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (004) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (005) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (006) | Peter Jorge Fagundo | Tues
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (007) | Steven Husby | Tues
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (008) | Alexis de Chaunac | Tues
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (009) | Tues
3:30 PM - 9:15 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (010) | Amanda Joy Calobrisi | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (011) | Herman Aguirre | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (012) | Erin Washington | Wed
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (013) | Tyson Reeder | Thurs
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (014) | Jaclyn Gaye Mednicov | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (015) | Noah Rorem | Thurs
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (016) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (017) | Fri
9:00 AM - 3:00 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (018) | Kaylee Rae Wyant | Fri
9:00 AM - 3:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (019) | Tyson Reeder | Sat
10:00 AM - 4:00 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Painting Practice | 2001 (020) | Sat
10:00 AM - 4:00 PM In Person |
|
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
Comics | 2002 (001) | Johnny Sampson | Mon
9:00 AM - 3:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics | 2002 (002) | Cecilia Beaven | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics | 2002 (003) | Tues
9:00 AM - 3:00 PM In Person |
|
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics | 2002 (004) | MJ Lounsberry | Tues
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics | 2002 (005) | Johnny Sampson | Tues
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics: From Basics To Print | 2002 (006) | Sara Varon | Wed
9:00 AM - 3:00 PM In Person |
Description
In this course, students will cover the basics of comics from A to Z, with a focus on printed comics. The class will start with technical aspects including drawing materials, composition, dialogue, lettering, panels, and framing. We will then discuss story-writing including character creation, setting, and plot. In the last several weeks, students will create their own 8 page comic, moving from thumbnails to pencils to final art. Finally, students will design a cover (to be printed on the Risograph,) lay out their comic in InDesign, print out multiple copies of their comic, and assemble their own mini-comic.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics: Graphic Journalism | 2002 (007) | Anya Pauline Davidson | Thurs
9:00 AM - 3:00 PM In Person |
Description
For over a century, illustrators have used the comics medium to document current events and disseminate information, but due to globalization, the ascent of the graphic novel and the birth of the internet, the practice is now more vital than ever. From global conflicts to cultural events, cartoonists are documenting the defining moments of our era as they happen, and are creating works that help readers comprehend the complex historical, political and cultural forces shaping our world. In this class, students will read classic works of graphic journalism, learn best practices for artists in the field, and create their own short works that explore various aspects of contemporary life in Chicago and beyond.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics: Fiction Comics | 2002 (008) | Marnie Galloway | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course focuses on developing and refining the writing and cartooning skills required to make short fiction comics. In this class we will explore the rhythms of literary storytelling, discuss the formal elements of comics, develop composition and inking skills, create short comics to build foundations of comics storytelling, and finish the semester by self-publishing a collection of the comics we made through the semester. Required readings supplement the studio assignments, which will include short fiction comics, poems, flash fiction, and excerpts from graphic novels.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics: The Mechanics of Visual Storytelling | 2002 (009) | Sam Sharpe | Thurs
3:30 PM - 9:15 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics: Remote | 2002 (010) | Aaron Renier | Thurs
6:45 PM - 9:30 PM All Online |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics | 2002 (011) | Sam Sharpe | Fri
9:00 AM - 3:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics:Advanced | 2002 (012) | Jeremy R Tinder | Sat
10:00 AM - 4:00 PM In Person |
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Comics | 2002 (013) | Sat
10:00 AM - 4:00 PM In Person |
|
Description
The Department of Painting and Drawing offers a wide variety of comics courses, ranging from traditional to experimental methods and techniques. Each course is designed to focus on a specific area of comics production. To learn more about the topic of a specific comics course in which you are interested, please review the course description for that particular class.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Color | 2003 (001) | Jo Hormuth | Mon
9:00 AM - 3:00 PM In Person |
Description
This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice.
In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Color | 2003 (002) | Steven Husby | Fri
9:00 AM - 3:00 PM In Person |
Description
This studio course will provide a hands-on introduction to the fundamental understanding and use of color. Students will gain practical experience working with material color in order to improve their understanding of how color works. Assignments will be introduced in class to help students develop a working knowledge of the basic concepts of hue, value, and chroma, and the relationship between these concepts and those of color harmony and organization. By working with color in context students will gain a practical understanding of color interaction and develop strategies for approaching color with greater sophistication and specificity in their own practice.
In addition to our investigations with color in the classroom, this course will examine the ways in which artists and scholars have worked with color art historically as a medium of expression, and thought about color scientifically as an index of an underlying natural order, as well as culturally as a system of signs reflecting our biases back to us to be interpreted. Reliable perceptual phenomena like simultaneous contrast and afterimages will be considered alongside more unstable notions like synesthesia and color music, as well as the complicated history of thinking about color as evidence of that which is ?other.? Course work will include exercises to help students develop their approach to color, and a final project in which they put their understanding to work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Drawing: Multi-Level | 2030 (001) | Noelle Africh | Mon
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Drawing: Multi-Level | 2030 (002) | Mary Griffin | Mon
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Drawing: Multi-Level | 2030 (003) | Ruth Poor | Tues
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Drawing: Multi-Level | 2030 (004) | Tues
3:30 PM - 9:15 PM In Person |
|
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Drawing: Multi-Level | 2030 (005) | Jessica Du Preez | Tues
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Drawing: Multi-Level | 2030 (006) | Mary Griffin | Wed
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Drawing: Multi-Level | 2030 (007) | Josiah Ellner | Wed
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Drawing: Multi-Level | 2030 (008) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Drawing: Multi-Level | 2030 (009) | Thurs
3:30 PM - 9:15 PM In Person |
|
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Drawing: Multi-Level | 2030 (010) | Larissa Setareh Borteh | Fri
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Drawing: Multi-Level | 2030 (011) | Herman Aguirre | Fri
9:00 AM - 3:00 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Fig Draw:Anatomy | 2030 (012) | Melinda Whitmore | Wed
9:00 AM - 3:00 PM In Person |
Description
This course is designed to enlighten and empower the student?s knowledge of basic anatomy in skeletal and superficial musculature forms and to apply it in a drawing context with confidence and fidelity. Not only will the student become better familiarized with anatomical structures through class lectures and life drawing sessions, but a greater understanding of the dynamics of form and movement in space will be achieved through practice and repetition of procedures learned throughout the course.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Fig Draw: Adv Draw Inside/Out | 2031 (001) | Anne Harris | Tues
9:00 AM - 3:00 PM In Person |
Description
This course will concentrate on drawing the figure with an emphasis on sculptural form. The objective will be to use drawing?particularly line?to investigate the body three-dimensionally. You will work from the inside out, drawing internal volume and topography, rather than an outside edge.
The goal will be to rotate the body and move it through space, to understand its basic structure and movement and, through that understanding, to learn about drawing as a tool for investigation, a way of exploring and structuring space, weight, and form. By semester's end you will be able to invent a body in space. This ability is key to the tradition of figurative art found in artists ranging from Peter Paul Rubens to Kerry James Marshall and Nicole Eisenman. Throughout the course we will be looking at and learning from a range of figurative artists, both historical and contemporary, via lectures and visits to the museum, including the AIC?s Prints and Drawings viewing room. This is a highly structured course, akin to an intensive workshop. New information will be introduced every class. There will be regular outside assignments. PrerequisitesPrerequisite: PTDW 2030. |
Class Number |
Credits |
DepartmentLocation |
Fig Draw:Adv:Narr/Figuration | 2031 (002) | Amanda Joy Calobrisi | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio drawing course explores how narrative operates in the history and traditions of figure painting. The class incorporates a range of methods; visits to the museum and galleries; introduce written material into drawn images; and analyze forms of narrative, including short film, graphic novels, abstraction, and sculpture. Sessions will focus on how mood, color, light and the passing of time influence how we read and produce a narrative image.
PrerequisitesPrerequisite: PTDW 2030. |
Class Number |
Credits |
DepartmentLocation |
Studio Drawing: Multi-Level | 2040 (001) | Paula Kamps | Mon
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Std Draw:Large Format | 2040 (002) | Steven Husby | Mon
9:00 AM - 3:00 PM In Person |
Description
How big is big? Does the size of a drawing alter our ideas of what we?re about while we?re producing it? How do relationships of internal scale alter our sense of the surrounding space, and how do the sizes of the materials and the support alter our own awareness of scale? In this course we will explore the potential for large format drawing in the perceptual, material, narrative and conceptual senses. We will work towards expanding notions of Large, Format, Studio and Drawing. We will work towards specificity and developing each student's individual concerns. Bring your ambition, you'll need it.
Most time in class will be spent working on studio projects, which will be supplemented by museum visits, slide lectures, student led reading discussions and presentations, and in depth critique. Readings and artists looked at will vary, but will typically include texts which attempt a broad overview of the state of drawing within the field of contemporary art like Vitamin D2 and Drawing Now: Eight Propositions, and include contemporary artists working with drawing at ambitious scale such as Toba Khedoori, Amy Sillman, and William Kentridge, and more historical examples like Willem de Kooning, Cy Twombly, Lee Krasner, and Jasper Johns. There will be a long form mid-term critique and a shorter final critique. Students will be expected to complete multiple large scale works for each. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (003) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (004) | Mon/Wed
6:45 PM - 9:15 PM In Person |
|
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Dwg:Mixed Media Paper | 2040 (005) | Noelle Africh | Tues
9:00 AM - 3:00 PM In Person |
Description
Simply put, this class is about exploring possibilities-- the use of various combinations of materials used, wet and/or dry, on any paper related products, from fine drawing sheets to left over cardboard, as long as the what and how of it is on/with a paper support...the individual pursuit for a personal visual voice is encouraged...during the first several weeks, various 'problems' will be given to start things moving?
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Std Draw:Representn/Abstractn | 2040 (006) | Judith Geichman | Tues
9:00 AM - 3:00 PM In Person |
Description
Manipulate Space, Deconstruct Form, Re-Invent Your Visual World.
This course will explore different form and space making systems as they relate to abstraction. Slide presentations throughout the semester will focus on abstraction and different artist, art movements, elements of visual language, and concepts past and present, all to engage and open students visual ideas and art making practice. Students will be encouraged to pursue their own ideas and imagery as they work with the course material. Painterly drawing will be explored, as well as drawing from a live model. Field trips are scheduled in the curriculum. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Collage | 2040 (007) | Delano Dunn | Tues
3:30 PM - 9:15 PM In Person |
Description
In the early 20th century, Max Ernst coined the phrase ?collage thinking? to describe the burst of innovation taking place in his studio and among fellow artists. Learn the techniques of the ?collage mind? as well as the historical view of creative reassembling as it appears before the 20th century and throughout art history.
This multi-level studio will cover all of the various traditional methods of assembling cut paper into a complete work of art. Additionally, we will touch upon the use of unorthodox materials for 2-D assemblage, movable art and bas-relief. Individual as well as group instruction will provide a flexible educational environment, accommodating both the novice and accomplished collagist. Examples from the rich history of collage will be shown and reinforced by field trips to related exhibitions. The class will review historic and contemporary approaches to collage through lectures, demonstrations and bi-weekly visits to the Ryerson Library in order to study reference images. The history and use of the demonstrated collage methods will form the foundation of six class assignments, ending with a final independent project. Mid-term and final group critiques provide valuable feedback. The successful student will acquire a thorough knowledge of all existing analog collage techniques, appropriate glues and adhesives and suitable supports. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (008) | Jessica Zawadowicz | Thurs
3:30 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Draw:Landscape | 2040 (009) | Olivia Petrides | Wed
9:00 AM - 3:00 PM In Person |
Description
From the sublime to the technological, contemporary artists are reinventing the landscape genre and examining its relevance. This multi-level studio course provides an opportunity to explore individual perceptions of the natural world in light of current landscape painting narratives. There will be presentations and readings on issues pertinent to the landscape as subject.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (010) | Noah Rorem | Wed
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (011) | Arnold Kemp | Thurs
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (012) | Matt Morris | Thurs
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (013) | Jessica Jackson Hutchins | Thurs
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (014) | Robert Burnier | Thurs
3:30 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (015) | George Liebert | Fri
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (016) | Tyson Reeder | Fri
9:00 AM - 3:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (017) | Claire Ashley | Sat
10:00 AM - 4:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Studio Drawing: Multi-Level | 2040 (018) | Ryan Peter | Sat
10:00 AM - 4:00 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Std Draw:Adv Form Invention | 2041 (001) | Richard Hull | Tues
9:00 AM - 3:00 PM In Person |
Description
An advanced investigation of drawing as an organizing tool for thought and personal image exploration. Students work with both assigned and independently conceived problems. Topic: Form Invention - The exploration of representation strategies beyond direct perception and conventional visual modes. Procedures will include exaggeration and omission, stylization and abstraction, composite and hybrid forms, secondary and double images, visual puns and rhymes, and multi-perspectival representation. Examples will be drawn from the span of art history, East and West and from contemporary practice and visual culture. There will be studio problems and exercises, sketchbook assignments, individual projects, slide presentations, and museum visits.
PrerequisitesPrerequisite: PTDW 2040. |
Class Number |
Credits |
DepartmentLocation |
Painting Studio A: Multi-Level | 3001 (001) | Mon
9:00 AM - 3:00 PM In Person |
|
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
Painting Studio A: Multi-Level | 3001 (002) | Erin Washington | Mon
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
Painting Studio A: Multi-Level | 3001 (003) | Paola Cabal | Tues
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
Painting Studio A: Multi-Level | 3001 (004) | Karen Azarnia | Tues
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
Painting Studio A: Multi-Level | 3001 (005) | Don Southard | Tues
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
Painting Studio A: Multi-Level | 3001 (006) | Larissa Setareh Borteh | Tues
3:30 PM - 9:15 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
Painting Studio A: Multi-Level | 3001 (007) | Judith Geichman | Wed
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
Painting Studio A: Multi-Level | 3001 (008) | Wed
9:00 AM - 3:00 PM In Person |
|
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
Painting Studio A: Multi-Level | 3001 (009) | Susan Kraut | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
Painting Studio A: Multi-Level | 3001 (010) | Dylan Rabe | Fri
9:00 AM - 3:00 PM In Person |
Description
This course investigates painting materials, application, color, form, and ideas through contemporary and traditional methodologies. Designed to accommodate many skill levels, students can explore various creative strategies through a skill-based curriculum as well as individual projects. This course serves as a requirement and preparation for topic-based Painting Studio Multi-Level B classes.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentLocation |
Ptg Std B:The Abstract Image | 3002 (001) | Richard Hull | Thurs
9:00 AM - 3:00 PM In Person |
Description
This studio class will be an exploration of the premise that all paintings are abstract. Whether an image is found and formed from observation or imagination, that image is ultimately an abstraction of its source. We will address issues of Abstraction, Representation, and Conceptualism. Shape, color, composition and intent--no matter what the image--will be the class's focus.
This is a studio class. There will be no readings. Examples of other artist work will be given in response to the individual student's work. Every assignment is based on the students own work. All the assignments are surprises. The students will work a lot, some make more work than others. PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
Ptg Std B:Exploding Paint | 3002 (002) | Claire Ashley | Tues
3:30 PM - 9:15 PM In Person |
Description
Using an irreverent love of painting and an absurdly oedipal desire to destroy it, this class looks at ways to create fantastical, hybridized, bastardized offspring ?paintings? in the expanded field. We will connect painterly gestures with non-traditional surfaces such as modular, flat-pack, and portable sculptural form, found objects, architectural space, virtual space, video projection, performative action, and the body. Color workshops, woodshop authorizations, material sourcing field trips, video projection/performance workshops, and site-specific installations will be components of this class. A willingness to experiment, invent, imagine, and fail is required.
Artists shown will range from historical figures such as Robert Rauschenberg, Sam Gilliam, Elizabeth Murray, Lynda Benglis, and Eva Hesse, to contemporary practitioners such as Jessica Stockholder, Katharina Grosse, Tomashi Jackson, Anna Betbeze, Liu Bolin, Abigail DeVille, Yvette Mayorga, Alexis Teplin, Brian Bress, Donna Huanca, Rachel Rose, Takeshi Murata, Ben Jones, and Lee Wen. Readings will vary but typically include Thomas McEvilley's 'Thirteen Ways of Addressing a Blackbird', 'Mapping: The Intelligence of Artistic Work' by Anne West, and ?Painting 2.0: Expression in the Information Age? edited by Ammer, Hochdorfer, and Joselit. The semester will consist of three ambitious projects and critiques: 1. Draped Skins; 2. Goopy Objects; 3. Body Actions. Slide presentations and required readings will be assigned. PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
Ptg Std B:Pictorial Structures | 3002 (003) | Richard Hull | Fri
9:00 AM - 3:00 PM In Person |
Description
In this class we will go to the galleries in the museum every week, looking at and talking about how paintings are made, focusing on the underlining pictorial structure: the way artist in the past created a pictorial tension that still give the paintings presence today despite what might seem to us as anachronistic subjects. We will spend the majority of the time in the studio working and hopefully applying what we learn in the museum to your paintings. There is no stylistic agenda for this class: It's not what it is; it's what it does.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
Painting Studio: Remote | 3003 (001) | Daniel Robert Gunn | Wed
6:45 PM - 9:30 PM All Online |
Description
This course investigates strategies to develop and maintain a painting practice within the context of a home or off-campus studio. Painting materials, application, color, form, and contemporary and traditional methodologies will all be examined. Focus will be given to the development of safe home studio practices. Designed to accommodate many skill levels, students will explore various creative strategies through a skill-based curriculum as well as individual projects
Lectures and assignments will focus on developing a home studio practice, as well as contemporary painting in general. Students will review a wide variety of current and past painters, with emphasis placed on diversity and recontextualization of the traditional canon. PTDW/StudioLab-developed content for a safe home studio practice, including readings and video tutorials, will be shared and explored. Other critical readings may be assigned at the discretion of the faculty. The course leaves room for differing approaches by section and faculty, much like a Multi-level Painting course, but with an added focus on home studio practice. Course work will vary by section, but will typically include a mixture of short, focused studio assignments, in combination with longer, individually driven projects. Critiques and one-on-one discussion will occur throughout the semester, culminating in a final critique, based on work created throughout the semester, or on a culminating independent project. Readings and tutorials on home studio practice will be assigned throughout the semester as needed. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Visionary Drawing | 3006 (001) | Jaak Jurisson | Thurs
9:00 AM - 3:00 PM In Person |
Description
Visionary Drawing combines research and studio practice in the exploration at drawings and images that are uniquely compelling and have the power to advance visionary proposals in the realms or art, architecture, film, and spatial invention. Examination of historic and contemporary sources will be combined with active studio practice in making drawings of visions, worlds, speculations and proposals for spaces, buildings, sculptures and future monuments.
We will study an extensive variety and number or artists and architects ranging tram Mies van der Rohe to Henry Darger, Zaha Hadid to Hieronymus Bosch, the Crystal Chain to Boullee. Walter Demarta to the Bechers to Coop Himmel B(l)au The diverse range is deliberate and intentional. Course work will vary but will typically include readings, assignments of research, and regular Intense assignments of drawing and imaging projects. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Painting A: Multi-Level | 3030 (001) | Dylan Rabe | Tues
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.
Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Painting A: Multi-Level | 3030 (002) | Don Southard | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.
Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Figure Painting A: Multi-Level | 3030 (003) | Karen Azarnia | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who want to engage the human figure as subject while learning/reinforcing the fundamentals of painting. By observing the model in space, students will investigate form, color, composition and the properties of paint.
Humans have been depicting humans with paint for tens of thousands of years. The human figure continues to be a vital subject in contemporary art. The work done in this class exists in this broad context. This is a multi-level class. Painting perceptually (from life) is challenging at all levels. Painting a human being from life further deepens and expands this challenge. The artwork referenced may range from prehistoric to contemporary. This course has many sections; the exact focus of each class will depend on the teacher, and so the work shown will vary from class to class. Work will likely be seen via lectures in class and/or visits to the museum. Other material, such as readings, will also vary. Expect to paint the figure from life in class. Other in-class activities will vary. Outside assignments will vary. PrerequisitesPrerequisite: PTDW 2001 or PTDW 2004 or PTDW 1101, and PTDW 2030. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Expanded Line | 3039 (001) | Jonas Müller-Ahlheim, Camille Casemier Johnson | Sat
10:00 AM - 4:00 PM In Person |
Description
The course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We will be exploring performance through drawing: drawing as a description, a medium, and a score for an embodied gesture. We will use drawing to imagine movement and to move concepts, in which drawing can act as tracing and foreseeing. Performances become descriptions and embodied drawings and vice versa.
We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as mark making and thinking process. We will look at artists like Sol Lewitt, Lygia Pape, Monica Baer, among other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown; Artists in conversations such as Paul Chan and Martha Rosler, Devin T. Mays and David Schutter, John Baldessari and Paul Thek, Matthew Goulish and Lin Hixson. We will work through texts like Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene by Donna Haraway, and 'White Elephant Art vs Termite Art' by Manny Farber. Working in and with public space as surface, students should expect to create traditional and non-traditional drawings and performances, blurring the line of traditional drawing material and embodied practice. Performance will be approachable, self determined, nothing more or less than walking if you so choose. Students will produce a final show at No Nation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Expanded Line | 3039 (001) | Jonas Müller-Ahlheim, Camille Casemier Johnson | Sat
10:00 AM - 4:00 PM In Person |
Description
The course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We will be exploring performance through drawing: drawing as a description, a medium, and a score for an embodied gesture. We will use drawing to imagine movement and to move concepts, in which drawing can act as tracing and foreseeing. Performances become descriptions and embodied drawings and vice versa.
We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as mark making and thinking process. We will look at artists like Sol Lewitt, Lygia Pape, Monica Baer, among other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown; Artists in conversations such as Paul Chan and Martha Rosler, Devin T. Mays and David Schutter, John Baldessari and Paul Thek, Matthew Goulish and Lin Hixson. We will work through texts like Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene by Donna Haraway, and 'White Elephant Art vs Termite Art' by Manny Farber. Working in and with public space as surface, students should expect to create traditional and non-traditional drawings and performances, blurring the line of traditional drawing material and embodied practice. Performance will be approachable, self determined, nothing more or less than walking if you so choose. Students will produce a final show at No Nation. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Drawing Materials & Techniques | 3049 (001) | Richard Deutsch | Tues
9:00 AM - 3:00 PM In Person |
Description
This course examines the relationship of specific media and techniques to the content and activity of drawing. Studio work is complemented by study of works on paper in the collection of the Art Institute of Chicago.
|
Class Number |
Credits |
DepartmentArea of StudyLocation |
Painting Materials and Techniques I | 3050 (001) | Frank Piatek | Fri
9:00 AM - 3:00 PM In Person |
Description
This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Painting Materials and Techniques I | 3050 (002) | Josh Dihle | Wed
9:00 AM - 3:00 PM In Person |
Description
This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Painting Materials and Techniques I | 3050 (003) | Richard Deutsch | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course investigates the properties and possibilities of traditional and modern media, grounds, supports, methods, adhesives, and pigments.
PrerequisitesPrerequisite: PTDW 1101, 2001, 2004 or PTDW 3003 |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Spiritus Mundi: Art and Esotericism | 3198 (001) | Frank Piatek, Peter O'Leary | Thurs
12:15 PM - 3:00 PM In Person |
Description
Esotericism refers both to a field of knowledge hidden from common view and a moral reality suggesting secrecy, occultism, danger, conspiracy, and vast quantities of arcane lore and revelation. This course introduces students to a basic theory of esotericism in relation to the active production of art in the context of the spiritual. The spiritual has a living context in art, visible in various forms of the visionary, the sacred, and the sublime, for which the doctrines of different esoteric disciplines, such as Gnosticism, Kabbalah, Astrology, and Alchemy, can serve as keys.
The catalogue 'The Spiritual in Art: Abstract Painting, 1890-1985' will serve as a master resource for this course, as well as selected readings from artists, scholars, and researchers, including Marsilio Ficino, Carl Jung, Antoine Faivre, Jeffrey Kripal, Alejandro Jodorowsky, Arthur Versluis, Hermes Trismegistus, Evelyn Underhill, H.P Blavatsky, and Richard Tarnas, to name a few. Students will generate visual art on the themes of the class during the studio portion of the course; for the symposium portion of the course, they will produce several short informative essays about figures from the history of Western Esotericism, as well as a final research project, in the form of a personal essay, work of creative fiction, poetry, or drama, or an advanced horoscope, to be presented to the class. PrerequisitesStudio Symposia - Students must enroll in both PTDW 3198 and HUMANITY 3198 |
Class Number |
Credits |
DepartmentLocation |
Spiritus Mundi: Art and Esotericism | 3198 (001) | Frank Piatek, Peter O'Leary | Thurs
12:15 PM - 3:00 PM In Person |
Description
Esotericism refers both to a field of knowledge hidden from common view and a moral reality suggesting secrecy, occultism, danger, conspiracy, and vast quantities of arcane lore and revelation. This course introduces students to a basic theory of esotericism in relation to the active production of art in the context of the spiritual. The spiritual has a living context in art, visible in various forms of the visionary, the sacred, and the sublime, for which the doctrines of different esoteric disciplines, such as Gnosticism, Kabbalah, Astrology, and Alchemy, can serve as keys.
The catalogue 'The Spiritual in Art: Abstract Painting, 1890-1985' will serve as a master resource for this course, as well as selected readings from artists, scholars, and researchers, including Marsilio Ficino, Carl Jung, Antoine Faivre, Jeffrey Kripal, Alejandro Jodorowsky, Arthur Versluis, Hermes Trismegistus, Evelyn Underhill, H.P Blavatsky, and Richard Tarnas, to name a few. Students will generate visual art on the themes of the class during the studio portion of the course; for the symposium portion of the course, they will produce several short informative essays about figures from the history of Western Esotericism, as well as a final research project, in the form of a personal essay, work of creative fiction, poetry, or drama, or an advanced horoscope, to be presented to the class. PrerequisitesStudio Symposia - Students must enroll in both PTDW 3198 and HUMANITY 3198 |
Class Number |
Credits |
DepartmentLocation |
Erotics of Excess | 3298 (001) | Jeremy Biles, Rebecca Walz | Thurs
12:15 PM - 3:00 PM In Person |
Description
This course investigates the relationship between eroticism, excess, artistic practice, and modes of representation. Taking an interdisciplinary and transgeneric approach (with readings in theory, history, philosophy, psychology, and literature), the course will treat a variety of mediums, with special emphasis on painting, drawing, and adjacent practices. Instructors frame the concept of ?erotics? as a mode of practice that investigates and integrates sex, gender, and a variety of ambivalent movements, for example, the play of form and formlessness, figuration and monstrosity, taboo and transgression, attraction and repulsion, incorporation and excretion, abjection and sublimity. Key ideas discussed in class include sex/uality, gender, difference, bodies, ritual, violence, representation, desire, ?perversion.? Students will read texts from art theory and history, psychoanalysis, literature, and psychology. Throughout the class, they will be asked to synthesize course readings and discussions with their own artistic practice.
PrerequisitesStudio Symposia - Students must enroll in both PTDW 3298 and HUMANITY 3298 |
Class Number |
Credits |
DepartmentLocation |
Erotics of Excess | 3298 (001) | Jeremy Biles, Rebecca Walz | Thurs
12:15 PM - 3:00 PM In Person |
Description
This course investigates the relationship between eroticism, excess, artistic practice, and modes of representation. Taking an interdisciplinary and transgeneric approach (with readings in theory, history, philosophy, psychology, and literature), the course will treat a variety of mediums, with special emphasis on painting, drawing, and adjacent practices. Instructors frame the concept of ?erotics? as a mode of practice that investigates and integrates sex, gender, and a variety of ambivalent movements, for example, the play of form and formlessness, figuration and monstrosity, taboo and transgression, attraction and repulsion, incorporation and excretion, abjection and sublimity. Key ideas discussed in class include sex/uality, gender, difference, bodies, ritual, violence, representation, desire, ?perversion.? Students will read texts from art theory and history, psychoanalysis, literature, and psychology. Throughout the class, they will be asked to synthesize course readings and discussions with their own artistic practice.
PrerequisitesStudio Symposia - Students must enroll in both PTDW 3298 and HUMANITY 3298 |
Class Number |
Credits |
DepartmentLocation |
Show It Yourself: Chicago's Artist-Run Spaces | 3924 (001) | Danny Bredar | Mon
8:30 AM - 11:15 AM In Person |
Description
This professional practice class focuses on the history and current practice of artist-run art spaces in Chicago. Students will research historical artist-driven culture and meet with current artists/curators.
Readings and lectures will look at different models of exhibiting artwork, working within economic constraints, and terrain of the art market. Students will build professional skills such as writing an artist statement, curriculum vitae, artist talks, documenting work, and applying to opportunities like residencies or grants. The class will curate and produce a collaborative exhibition as a culminating event. PrerequisitesPrerequisite: Sophomore seminar course |
Class Number |
Credits |
DepartmentLocation |
PTDW: Prof Prac: I Made a Thing... | 3926 (001) | Sam Jaffe | Tues
12:15 PM - 3:00 PM In Person |
Description
In ?I Made a Thing?,? a Professional Practice Experience course offering, you will engage in a wide variety of activities designed to help prepare you for life after SAIC. Course activities may include creating a website, preparing a CV, attending networking events with alumni, and writing of a project statement. The course emphasizes hands-on, real-world professional activities and opportunities for emerging studio artists.
This course will be broken into six units, each of which addresses a particular concern about what to do with studio work once it has been made. Each unit will typically contain a reading assignment, a writing assignment, and a project assignment. This course would be best suited for artists who are considering a career centered around an individually driven studio practice. Units include: I Made a Thing and I think I want to make more: how to develop a practical, long-term studio practice. I Made a Thing and I think it failed: how to embrace inevitable challenges and let your work be your teacher. I Made a Thing and I think I want people to look at it: how to cultivate a supportive creative community both physically and virtually. I Made a Thing and I think I want to use it to apply to/for stuff: how to get your work ?out there.? I Made a Thing and I think I want people to talk about it: how to engage your work with dialogue and criticism. I Made a Thing and I think I want someone to buy it: how to create your own art market. PrerequisitesPrerequisite: Sophomore seminar course |
Class Number |
Credits |
DepartmentLocation |
Advanced Painting Studio | 4001 (001) | Anne Harris, Robert Burnier, Peter Jorge Fagundo | Wed/Thurs/Fri
9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
Advanced Painting Studio | 4001 (001) | Anne Harris, Robert Burnier, Peter Jorge Fagundo | Wed/Thurs/Fri
9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
Advanced Painting Studio | 4001 (001) | Anne Harris, Robert Burnier, Peter Jorge Fagundo | Wed/Thurs/Fri
9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
Advanced Painting Studio | 4001 (002) | Sam Jaffe, Matt Morris | Wed/Thurs/Fri
9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
Advanced Painting Studio | 4001 (002) | Sam Jaffe, Matt Morris | Wed/Thurs/Fri
9:00 AM - 3:00 PM In Person |
Description
This studio explores specific problems in each student's area of concentration and interest. Students are expected to command familiarity with problems of color, composition, and basic materials.
PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
Post-Bacc Painting Methods | 4700 (001) | Josh Dihle | Thurs
3:30 PM - 9:15 PM In Person |
Description
This course is specifically designed for post-bacc painting students.
This course is designed to present experienced students with an intensive survey of painting materials, methods, and processes. We will undertake a close examination of historical and contemporary painting techniques to harness the range of optical and material effects available within the medium. Students will learn by demonstration and direct exploration. We will seek control over pigments and binders as well as an understanding of the physical and chemical principles that underpin their archival use. Particular emphasis will be given to control in handling of color relationships, surface properties, and perceptual space. Mark David Gottsegen¿s The Painter¿s Handbook is the required course text. We will explore the production and handling of egg tempera, egg oil emulsion, casein, acrylic, and oil paints. In some cases, we will make our own paint. Students will learn various methods, including include surface preparation, underpainting, modeling form, glazing, and color mixing. We will contextualize these methods by looking at the work of historical and contemporary practitioners, from cave painting to Medieval altarpieces to today¿s painting innovators. The first half of the class will focus on a range of paints and processes. The second half will balance open-ended assignments with independent work while utilizing the materials and methods we¿ve learned. Students should expect to complete between 8 and 10 paintings over the course of the semester. PrerequisitesOpen to PBACC students only. |
Class Number |
Credits |
DepartmentLocation |
Making a Life in the Arts: Professional Practice Studio for Post Baccs | 4701 (001) | kg Gnatowski | Fri
12:15 PM - 3:00 PM In Person |
Description
This course is specifically designed for post-bacc painting students.
In this course, students will explore and create their own definitions of success, starting with their preconceived notions of what it means to be a successful artist. We will break down outdated expectations and myths and will rebuild unique, personal, and fulfilling plans for a creative life. Hands-on writing labs, workshops research, field trips and guest artists will help shape student's possible career paths as they construct plans for navigating pathways through myriad art worlds. We will investigate a number of topics and tools that support a career in the arts, including: mind-mapping, goal-setting, creating professional materials (CV, statement, bio), applying to professional opportunities such as grants and residencies, studio visits, working with galleries, creating a working studio and installing one's work. Course material will include artists personal accounts of leading a creative life and tools they use to make projects more rich including guest artists and studio field trips. A lab style collaborative editing strategies will be employed for creating a CV, artist statement, bio and image portfolio preparing the cohort for MFA applications (if they so choose). This experiential learning will take place in-class focusing on participation, experimentation, observation and practice. The course tailors the experience in the class to the unique career goals of an international, multi-generational cohort of post-bacc students. This course involves numerous written assignments; students must be prepared to write and edit their work. Students will choose from a vast menu of short projects in order to tailor their experience in the class to their career goals. Final assignments will include 1) a clear personal vision of success; 2) steps for achieving short and long-term goals, and 3) refined professional materials suitable for application. PrerequisitesOpen to PBACC students only. |
Class Number |
Credits |
DepartmentLocation |
Lives of the Artists | 4918 (001) | Dushko Petrovich | Tues
8:30 AM - 11:15 AM In Person |
Description
In this class we will prepare the student for life out of school through looking at at the lives of artists through their writings and biographies. Artists writings/biographies will include Joan Mitchell, Fairfield Porter, Andrey Tarkovsky, Seth Price, Laura Owens, among others. Group critiques and a field trip to an artist studio will be included, as well as practical advice on documenting work and writing artist statements.
PrerequisitesPrerequisite: Professional practice course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Graduate Painting and Drawing Seminar | 5001 (001) | Magalie Guerin | Mon
6:45 PM - 9:30 PM All Online |
Description
This course looks at the range of concerns that inform and shape the making as well as the reception of paintings in a contemporary context. As a class, we will read, discuss and debate a range of historical and contemporary texts by artists, art historians, cultural theorists and critics on the continuing role and impact of painting as an art form, market force, and culture shaper, along with readings addressing the ability of art --and of painting in particular-- to effect political, ethical, and psychic change on both an individual and a broader social and cultural level.
Thematic topics, readings and screenings will vary but are typically chosen in reference to specific VAP or Departmental artist lectures offered during the semester of the course. Readings/topics may relate to one or more of the following: disability theory and the relationship of art to self-care; the relationship of visibility politics to current impulses in painting; the relationship of art to work, labor and leisure; the case of 'zombie formalism' and market effects on painting trends; the role of autobiography in art making and painting practices in particular. Mandatory individual studio critiques of 45-60 minutes each; weekly written outlines/quick bullet-point responses to one or more class readings; mandatory attendance to VAP lectures and other lectures if scheduled at same time as seminar class; final paper consisting of a critical review of a painting exhibition currently on view in Chicago. |
Class Number |
Credits |
DepartmentLocation |
Graduate Painting and Drawing Seminar | 5001 (002) | Dushko Petrovich | Tues
12:15 PM - 3:00 PM In Person |
Description
This course looks at the range of concerns that inform and shape the making as well as the reception of paintings in a contemporary context. As a class, we will read, discuss and debate a range of historical and contemporary texts by artists, art historians, cultural theorists and critics on the continuing role and impact of painting as an art form, market force, and culture shaper, along with readings addressing the ability of art --and of painting in particular-- to effect political, ethical, and psychic change on both an individual and a broader social and cultural level.
Thematic topics, readings and screenings will vary but are typically chosen in reference to specific VAP or Departmental artist lectures offered during the semester of the course. Readings/topics may relate to one or more of the following: disability theory and the relationship of art to self-care; the relationship of visibility politics to current impulses in painting; the relationship of art to work, labor and leisure; the case of 'zombie formalism' and market effects on painting trends; the role of autobiography in art making and painting practices in particular. Mandatory individual studio critiques of 45-60 minutes each; weekly written outlines/quick bullet-point responses to one or more class readings; mandatory attendance to VAP lectures and other lectures if scheduled at same time as seminar class; final paper consisting of a critical review of a painting exhibition currently on view in Chicago. |
Class Number |
Credits |
DepartmentLocation |
Post-Bacc Sem:Painting/Drawing | 5002 (001) | Jessica Jackson Hutchins, Shannon Stratton | Tues
3:30 PM - 6:15 PM In Person |
Description
Designed to unify the experience of the post-baccalaureate studio program, this class explores how an artist develops a body of work. This includes discussions of working processes and issues in art, critiques and explorations of resourses of the School, museum and city.
PrerequisitesOpen to Post-Baccalaureate students only. |
Class Number |
Credits |
DepartmentLocation |
Post-Bacc Sem:Painting/Drawing | 5002 (001) | Jessica Jackson Hutchins, Shannon Stratton | Tues
3:30 PM - 6:15 PM In Person |
Description
Designed to unify the experience of the post-baccalaureate studio program, this class explores how an artist develops a body of work. This includes discussions of working processes and issues in art, critiques and explorations of resourses of the School, museum and city.
PrerequisitesOpen to Post-Baccalaureate students only. |
Class Number |
Credits |
DepartmentLocation |
Post-Bacc Projects: Painting & Drawing | 5009 (001) | Kelly F. Kaczynski |
TBD - TBD In Person |
Description
Studio Projects:Independent studio work under the guidance of a faculty advisor. Post-Baccalaureatee studio students receive a list of scheduled advisors. Writing Projects: Independent tutorial work with the guidance and encouragement of a faculty advisor. Post-Baccalaureate writing students receive a list of scheduled advisors. The student registers for 6 credit hours of Post-Baccalaureate Projects during each semester of study.
PrerequisitesOpen to Post-Baccalaureate students only. |
Class Number |
Credits |
DepartmentLocation |
Post-Bacc Projects: Painting & Drawing | 5009 (002) | Shannon Stratton |
TBD - TBD In Person |
Description
Studio Projects:Independent studio work under the guidance of a faculty advisor. Post-Baccalaureatee studio students receive a list of scheduled advisors. Writing Projects: Independent tutorial work with the guidance and encouragement of a faculty advisor. Post-Baccalaureate writing students receive a list of scheduled advisors. The student registers for 6 credit hours of Post-Baccalaureate Projects during each semester of study.
PrerequisitesOpen to Post-Baccalaureate students only. |
Class Number |
Credits |
DepartmentLocation |
Post-Bacc Projects: Painting & Drawing | 5009 (003) | Judith Geichman |
TBD - TBD In Person |
Description
Studio Projects:Independent studio work under the guidance of a faculty advisor. Post-Baccalaureatee studio students receive a list of scheduled advisors. Writing Projects: Independent tutorial work with the guidance and encouragement of a faculty advisor. Post-Baccalaureate writing students receive a list of scheduled advisors. The student registers for 6 credit hours of Post-Baccalaureate Projects during each semester of study.
PrerequisitesOpen to Post-Baccalaureate students only. |
Class Number |
Credits |
DepartmentLocation |
Graduate Painting and Drawing Critique Seminar | 5035 (001) | Michelle Grabner | Wed
12:15 PM - 3:00 PM In Person |
Description
This course examines forms of critique and post critique. It will interpret artwork within contemporary and historical political and philosophical arguments. It will also address and evaluate specific modes of interpretation and critique, including forms shaped by institutional, intellectual, and in some cases vernacular histories. Active participation in discussions and in weekly critiques is expected. Class presentations on selected reading will also be required.
|
Class Number |
Credits |
DepartmentLocation |
Painting Materials: Individual Investigations | 5040 (001) | Josh Dihle | Mon
9:00 AM - 3:00 PM In Person |
Description
Painting Materials: Individual Investigations
This class is for students who wish to gain material mastery of their work by expanding their knowledge of its physical aspects. Students will learn to make their own paints and employ application processes and strategies from the earliest forms to experimental approaches of the moment. The class will be balanced between practical demonstrations of paint formulation and application methods, individual projects and class critiques. Covered media will include, but are not limited to: tempera and emulsion paints, acrylic, casein, oil, encaustic, distemper, pigment dispersions, grounds and supports. Special emphasis will be placed on areas of greatest student interest and individual approaches. |
Class Number |
Credits |
DepartmentLocation |
Grad Seminar: Comics, Context, & Community | 5200 (001) | Beth Kathleen Hetland, Jeremy R Tinder | Mon
12:15 PM - 3:00 PM In Person |
Description
This graduate seminar focuses on comics and visual narratives for the incoming cohort of the MFA:Comics pathway. This course will provide a foundation for building context, articulation, and intention for students and their work. Students will be asked 'why comics' in a variety of ways for both their own work, and the work of others. We will explore the history of comics and individual lineages of select cartoonists, alongside critical theory on contemporaries in the field.
Students will be exposed to a wide breadth of creators through readings. Readings vary but typically include graphic novels, academic texts, floppy comics, interviews, and zines. Course work includes dynamic readings, engaging classroom discussions, field trips to local cartoonist studios, critiques, and lectures on the mechanics of cartooning. PrerequisitesMust be enrolled in the MFA Comics Pathway |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Grad Seminar: Comics, Context, & Community | 5200 (001) | Beth Kathleen Hetland, Jeremy R Tinder | Mon
12:15 PM - 3:00 PM In Person |
Description
This graduate seminar focuses on comics and visual narratives for the incoming cohort of the MFA:Comics pathway. This course will provide a foundation for building context, articulation, and intention for students and their work. Students will be asked 'why comics' in a variety of ways for both their own work, and the work of others. We will explore the history of comics and individual lineages of select cartoonists, alongside critical theory on contemporaries in the field.
Students will be exposed to a wide breadth of creators through readings. Readings vary but typically include graphic novels, academic texts, floppy comics, interviews, and zines. Course work includes dynamic readings, engaging classroom discussions, field trips to local cartoonist studios, critiques, and lectures on the mechanics of cartooning. PrerequisitesMust be enrolled in the MFA Comics Pathway |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Grad Projects:Painting & Drawing | 6009 (001) | Lori Waxman |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
Grad Projects:Painting & Drawing | 6009 (002) | Arnold Kemp |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
Grad Projects:Painting & Drawing | 6009 (003) | Gaylen Gerber |
TBD - TBD In Person |
Description
Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.
PrerequisitesOpen to MFA, MFAW and MAVCS students only |
Class Number |
Credits |
DepartmentLocation |
Take the Next Step
Visit the graduate admissions website or contact the graduate admissions office at 312.629.6100, 800.232.7242 or gradmiss@saic.edu.