Kwame Gomez
Undergraduate Overview
Painting and Drawing Undergraduate Overview
With up to 80 courses offered in the Department of Painting and Drawing at the School of the Art Institute of Chicago (SAIC) each semester, students have the choice, freedom, and openness to design a painting and drawing curriculum tailored to their creative needs while developing the skills and conceptual foundations necessary for a sustainable art practice.
Choose from:
1. Painting Practice Classes: This is an introductory prerequisite course for all other painting classes. It is taught by a variety of faculty, each with their own pedagogical approach. Students learn the fundamentals of painting with a strong emphasis on developing proficiency with fundamental formal and material processes. Students also become familiar with various forms of visual and critical engagement in order to catalyze their conceptual development.
2. Painting Studio: Multi-Level Classes: These classes offer a fertile environment for the development of individual practice while advancing technical skill. General sections are open to students who have completed Painting Practice. Advanced, topic-based sections are also available. Topics include but are not limited to:
- The Abstract Image
- Cheap TV
- Conceptual Approach
- The Dream
- Exploding Paint
- Expressionism
- Funny Painting
- Painting after Painting
3. Studio Drawing: Multi-Level Classes: Taught by a diverse group of faculty who approach drawing with critical rigor, students learn and develop drawing fundamentals, as well as explore experimental, narrative and conceptual approaches with different media. General sections, as well as specialized, topic-based sections are available without prerequisite course requirements. Topics include, but are not limited to:
- Wild Combination
- Mixed Media
- Abstraction/Representation
- Ink Painting: the Brush of Zen
- Large Format Painting
- Collage: Concepts and Techniques
- Landscape Narratives
Figure Drawing and Painting Classes
Dedicated to the study of the body, these classes prioritize various approaches to the line, shape, volume, and anatomy of the human form. Approaches range from perceptually traditional to radically conceptual. Topics include but are not limited to:
- Anatomy
- Figures in Space
- Large Format
- The Portrait
- Advanced: Inside and Out
- Advanced: Narrative Figuration
- Advanced: Photo to Memory
Materials and Techniques Classes
These classes, offered in our new state of the art StudioLab, focus on the production, preparation and application of various traditional and contemporary paint systems. Students have the opportunity to make their own paints and drawing materials, such as egg tempera, gesso, casein, encaustic, oil paint, advanced acrylic processes, as well as silverpoint, conte-crayon and walnut ink. Students are also encouraged to develop their own material processes and recipes.
Comics Classes
These courses, taught in classrooms dedicated to the specific needs of comic production, cover aspects of narrative development, cell layout, illustration, zine creation and a variety of other approaches. Topics include but are not limited to:
- Autobiography
- Advanced Comics
- Capstone: Publish or Perish
- Cartooning the Figure
- Drawing Outside the Boxes
- Independent Comics
Sophomore Seminars, Professional Practices, and Senior Capstone Classes
The Academic Spine is a required three-course sequence for all undergraduate degrees. The three courses provide a structure of peer support and intensive faculty mentoring as students navigate SAIC’s open curriculum. Please see here for more information.
Advanced Painting Studio: Each semester, advanced students can apply to one of two sections of Advanced Painting Studio. Students share dedicated, private studio spaces from one to three consecutive semesters, working with faculty members three days per week. In many ways, this highly competitive course begins to approach the intensity of a graduate program, requiring dedicated independent studio practice and rigorous conceptual development.
Summer Institute: Painting Residency/Drawing Residency: These three-week summer intensives are taught in the Advanced Painting studios. Offering a residency experience, students are provided with an individual studio space, instruction from two faculty members, and access to an established visiting artist-in-residence who works alongside the students. While studio practice is primary, topical lectures and periodic visits to the Art Institute of Chicago are a consistent attribute of the course.
Recent Visiting Artists-in-Residence include:
- Kristin Calabrese
- Michael Cline
- Dana DeGuilio
- Karen Heagle
- Salomon Huerta
- Jessica Jackson Hutchins
- Diego Leclery
- Rebecca Morgan
- Ralph Pugay
- Christine Tien Wang
Admissions Requirements & Curriculum Overview
-
To apply to the School of the Art Institute of Chicago (SAIC), you will need to fill out an application and submit your transcripts, artist's statement, and letters of recommendation. And most importantly, we require a portfolio of your best and most recent work—work that will give us a sense of you, your interests, and your willingness to explore, experiment, and think beyond technical art, design, and writing skills.
In order to apply, please submit the following items:
Bachelor of Fine Arts in Studio Portfolio
Submit 10–15 pieces of your best and most recent work. We will review your portfolio and application materials for merit scholarship once you have been admitted to SAIC.When compiling a portfolio, you may concentrate your work in a single discipline or show work in a breadth of media. The portfolio may include drawings, prints, photographs, paintings, film, video, audio recordings, sculpture, ceramics, fashion designs, graphic design, furniture, objects, architectural designs, websites, video games, sketchbooks, scripts, storyboards, screenplays, zines, or any combination of the above.
-
Studio
69
- CP 1010 Core Studio Practice I (3)
- CP 1011 Core Studio Practice II (3)
- CP 1020 Research Studio I (3)
- CP 1022 Research Studio II (3)
- SOPHSEM 2900 (3)
- PROFPRAC 3900 (3)
- CAPSTONE 4900 (3)
- Studio Electives (48)
Art History
15
- ARTHI 1001 World Cultures/Civilizations: Pre-History—19th Century Art and Architecture (3)
- Art History Elective at 1000 level (3)
- Art History Electives (9)
Liberal Arts
30
- ENGLISH 1001 First Year Seminar I (3)
- ENGLISH 1005 First Year Seminar II (3)
- Natural Science (6)
- Social Science (6)
- Humanities (6)
- Liberal Arts Electives (6)
General Electives
6
- Studio, Art History, Liberal Arts, AAP, or EIS
Total Credit Hours
120
* BFA students must complete at least 6 credit hours in a class designated as "off campus study." These credits can also fulfill any of the requirements listed above and be from any of the divisions (Art History, Studio, Liberal Arts, or General Electives).
BFA With Distinction—SAIC Scholars Program: The SAIC Scholars program is a learning community of BFA students pursuing rigorous study in both their academic coursework and their studio pathways. There are two opportunities for interested students to apply to the SAIC Scholars Program: at the time of admission to the school, and after they have completed 30 credits of study at SAIC. Students pursuing the latter option are required to formally submit an application to the Undergraduate Division. Once admitted to the SAIC Scholars Program, students are required to successfully complete a minimum of six designated scholars courses. Students who complete the program will graduate with distinction.
BFA in Studio with Thesis Option (Liberal Arts or Visual Critical Studies)
BFA students may complete a nine-credit, research-based academic thesis as part of their studies within the 126 credits for the BFA in Studio degree. BFA with Thesis course sequences are offered over 3 semesters through the departments of Liberal Arts or Visual and Critical Studies (VCS). Students who are interested in one of the thesis options should follow the steps outlined below in the beginning of the junior year.
Requirements for the BFA: Studio Art with Liberal Arts Thesis
Step One: Students are required to meet with the Chair of the Liberal Arts department in the beginning of their junior year.
Step Two: With the Department Chair's approval, the student enrolls in the following courses beginning in the spring term of their junior year:
- SOCSCI or HUMANITY 3900 Academic Research and Writing (3 credits)
- LIBARTS 4800 Undergraduate Thesis: Research/Writing I (3 credits)
- CAPSTONE 4900 Liberal Arts Undergraduate Thesis: Research/Writing II (3 credits)
Step Three: The completed thesis must be approved by both the Thesis II instructor and the Chair of Liberal Arts. Students must make a formal presentation and participate in the Undergraduate Thesis Symposium in their senior year.
Requirements for the BFA: Studio Art with Visual and Critical Studies (VCS) Thesis
Step One: Students are required to meet with the Visual and Critical Studies Undergraduate Coordinator in or by the beginning of their junior year.
Step Two: With the VCS Coordinator's approval, the student enrolls in the first of the three-course sequence beginning in the spring term of their junior year:
- VCS 3010 Tutorial in Visual & Critical Studies (3 credits)
- VCS 4800 Undergraduate Thesis Seminar: Research & Writing I (3 credits)
- CAPSTONE 4900 VCS Undergraduate Thesis Seminar: Research & Writing II (3 credits)
Step Three: Completion of thesis must be approved by both the Thesis II instructor and the VCS Undergraduate Coordinator. Students must make a formal presentation and participate in the Undergraduate VCS Thesis Symposium in the senior year.
Total credits required for minimum residency
66
Minimum Studio credit
42
Learn more about applying to SAIC's Bachelor of Fine Arts in Studio, or view our portfolio preparation guide for more information.
Course Listing
| Title | Catalog | Instructor | Schedule |
|---|---|---|---|
| Painting Practice | 2001 (001) | Lisa DeAbreu | 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) | Jonathan Worcester | 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) | Diana Motta | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
Credits |
DepartmentLocation |
| Painting Practice | 2001 (005) | Francesca Bayegan | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
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) | Atticus Gordon | Tues
3:30 PM - 9:15 PM In Person |
Description
Painting Practice is an introductory painting course offering. The curriculum addresses basic skills as related to a painting studio practice. Topics and curricular goals include material, facility and technique, space and color, as well as concept. This course is a prerequisite for all Multi-level Painting, Figure Painting and Advanced Painting Studio classes.
|
Class Number |
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) | Richard Hull | 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) | Josh Dihle | 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) | Israel Aten | 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) | Ro Miller | 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) | Herman Aguirre | 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) | Frank Vega | 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) | Eleana Grace Daniel | 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) | MJ Lounsberry | 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 | 2002 (006) | Sara Varon | Wed
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: 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 | 2002 (008) | Marnie Galloway | 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 | 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) | Dove Drury Hornbuckle | 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) | Sebastian Thomas | 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) | Daniel Lloyd-Miller | Thurs
3:30 PM - 9:15 PM In Person |
Description
Students draw from the model as a means of understanding form, shape, and line using a variety of media. The course emphasizes shorter poses as training in immediate response to gesture and form. This course serves as a requirement and preparation for topic-based Figure Drawing B classes.
|
Class Number |
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) | Michelle Alexander, Nik Cho | 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) | Michelle Alexander, Nik Cho | 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) | Sabrina Zhao, Jenny Halpern | 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 |
| Studio Drawing: Multi-Level | 2040 (001) | Sabrina Zhao, Jenny Halpern | 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) | Josiah Ellner | 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 |
| Stu Dwg: Collage | 2040 (004) | MaryLou Zelazny | Tues
9:00 AM - 3:00 PM In Person |
Description
This multi-level studio will cover all of the various traditional methods of assembling cut paper into a complete work of art. Additionally, we will touch upon the use of unorthodox materials for 2D assemblage and bas-relief. The class will review historic and contemporary approaches, using them as an inspiration for projects. Individual as well as group instruction will provide a flexible educational environment, accommodating both the novice and accomplished collagist. Examples from the rich history of collage will be shown, as well as field trips to related exhibitions.
|
Class Number |
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: Multi-Level | 2040 (007) | Emily Nicole Murray, Su Kaiden Cho | Tues
3:30 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
| Studio Drawing: Multi-Level | 2040 (007) | Emily Nicole Murray, Su Kaiden Cho | Tues
3:30 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
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) | Scott Reeder | 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) | Israel Aten | 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) | Robert Burnier | 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) | Matt Morris | Thurs
3:30 PM - 9:15 PM In Person |
Description
This drawing studio serves as a broad introduction to historical and contemporary drawing practices. This course presents drawing as an organizer of thought, experience, and image.
Students will investigate a full range of drawing materials and supports. Lectures and exercises introduce various concepts of drawing, possibly including illusionistic form and space, gesture and expressive mark-making, or collage and found imagery, depending on the instructor?s emphasis. Designed to accommodate many skill levels, students can explore various creative strategies through technical drawing exercises, material explorations, and individual projects. Structured classroom critiques will bring drawing concepts into personal student work. |
Class Number |
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) | Israel Aten | 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) | Ziyi Zhang | 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) | Herman Aguirre | 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 |
| Painting Studio A: Multi-Level | 3001 (001) | Brianna Perry | 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) | Andrew Falkowski | 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) | Karen Azarnia | 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:Ink Paint:Brush Zen | 3002 (003) | Su Kaiden Cho | Fri
9:00 AM - 3:00 PM In Person |
Description
This class will begin with an introduction to the basics of ink and brush painting (Sumi-e), learn how to use tools, materials and developing ideas and techniques for creating paintings. An introduction to the Eastern philosophy of Zen will be made as well as the basic practice of Zen meditation, concentration, self-reflection, and inner strength building. Students will develop basic skills of the ink medium; they will be encouraged to explore their creativity through meditating and experimenting within the possibilities of the ink medium.
Two slides presentations will be given for the class: Slides presentation A: A brief history of bamboo paintings. Study of works by old masters: Wen Tong (1018-1079), Ke Jiusi (1290-1343), Zhen Xi (1693-1765, one of eight eccentrics of Yangzhou School, his theory and practice) Shi Tao (1641-1707, a master of Huang Shan School), Pu Hua (1836-1911, a Shanghai master of the late 19th century. Slides presentation B: An introduction of comparative study to Chinese modern and contemporary ink painting. Works by Qi Bai Shi (1863-1957), Lin Fengmian (1900-1991), Li Jing (born: 1958), Chai Yiming (born: 1965) and others artist's works will be showed and discussed. Besides weekly assignments, a body of work (approximate 10 pieces in fair sizes) and an artist statement are needed to be presented at final critique. PrerequisitesPrerequisite: PTDW 3001, 3003 or 3030 |
Class Number |
Credits |
DepartmentLocation |
| Painting Studio: Remote | 3003 (001) | Kevin Carr | 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 |
| Fig Ptg B:Photo to Memory | 3031 (001) | MaryLou Zelazny | Mon
9:00 AM - 3:00 PM In Person |
Description
Figure painters have used photographs since its invention, using it as an efficient recording tool. This multi-level class seeks to examine the role photography plays as a source for subjects, while assessing its strengths and limitations as opposed to pre-photographic traditional methods. Students will learn how to select essential information from observation to deepen their use of photography, as well as sharpen their ability to recreate visual information from daily memory drawing exercises.
Students will work on painting projects focusing on three main themes; observation of the model, photographs, and recalled memory studies, culminating in an independent final project using all of the presented approaches. The concentration on blended visual inspirations helps students identify their strengths and fosters the development of their chosen subject matter. The class seeks to give students the tools needed to develop and sustain a body of work outside of the classroom environment. Students complete six paintings in class, produce daily memory sketches, and submit one final project. Painting and drawing techniques are reviewed alongside each project, accommodating all levels of experience. Daily lectures and demonstrations clearly outline the technical approaches of each project. Examples from art history and contemporary art will be shown for each area of focus through the lectures and bi-weekly visits to view reference material in the Ryerson Library. Additionally, we will use the museum, the Joan Flasch Artists Book Collection and related local exhibitions for examples and research. PrerequisitesPrerequisite: PTDW 3030. |
Class Number |
Credits |
DepartmentLocation |
| 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 |
| Prof Prac: I Made a Thing... | 3900 (066) | 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: 2900 course |
Class Number |
Credits |
DepartmentLocation |
Take the Next Step
Visit the undergraduate admissions website or contact the undergraduate admissions office at 800.232.7242 or ugadmiss@saic.edu.
Upcoming Admissions Events
Undergraduate Admissions Events
Meet with us, learn more about SAIC and our curriculum, and get feedback on your work. LEARN MORE.