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.
Course titles and topics—over 30 offerings each semester—range from Intro to Photography to Lighting Fundamentals, Surrealism and Photography, Digital Light Projections, Fashion Photography, Advanced Post-Production, and more, allowing students to delve deeply into an area of interest, find synergies with departments and mediums across the school, or explore and master a wide range of techniques and equipment.
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 & 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 principle 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 |
---|---|---|---|
Introduction to Photographic Image Making | 1001 (001) | Matthew C. Siber | Mon
9:00 AM - 3:00 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.
'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Introduction to Photographic Image Making | 1001 (002) | Catherine Gass | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.
'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Introduction to Photographic Image Making | 1001 (003) | Cecil McDonald, Jr. | Tues
9:00 AM - 3:00 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.
'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Introduction to Photographic Image Making | 1001 (004) | Lali Khalid | Wed
9:00 AM - 3:00 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.
'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Introduction to Photographic Image Making | 1001 (005) | Marzena Abrahamik | Thurs
9:00 AM - 3:00 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.
'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Introduction to Photographic Image Making | 1001 (006) | Dylan Yarbrough | Thurs
3:30 PM - 9:15 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.
'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Introduction to Photographic Image Making | 1001 (007) | Rachel Herman | Fri
9:00 AM - 3:00 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.
'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Introduction to Photographic Image Making | 1001 (008) | Nathan Miller | Mon
9:00 AM - 3:00 PM In Person |
Description
This basic class, required for entry into all other photo classes, introduces contemporary technologies for producing photographic images. This course also introduces seeing, thinking and creating with a critical mind and eye to provide greater understanding of the construction and manipulation of photographic form and meaning. Approaching the medium in its current complex and pluralistic state, students explore a variety of photographic concepts and techniques. While various physical cameras are still in use today the fundamentals of using digital cameras, including manual exposure and lighting are stressed. Eclectic forms of output are explored in order to discover methods of presentation most suited to a particular idea.
'Knowledge of photography is just as important as that of the alphabet. The illiterate of the future will be a person ignorant of the use of the camera as well as the pen.' Laszlo Moholy-Nagy (1895-1946). This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments will provide technical skills to use cameras, compose images and print digital photographs. Readings, screenings and discussions will provide a framework for critically analyzing the photographs we encounter every day, as well as our own photographs. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Slow Photo | 2003 (001) | Monika Niwelinska | Fri
9:00 AM - 3:00 PM In Person |
Description
This course is designed for students who have a basic knowledge of photography and its materials and an interest in the use of the photo image as part of a broad vocabulary of image-making processes. Students explore cyanotype, van dyke brown, gum bichromate printing, collage, reproduction, and transfer techniques, and are given a basic working knowledge of the graphic arts films and print films. Also covered: Polaroid materials, copy machines, computer graphics, and applied color. Ideas related to text, installation, and performance may also be explored. Each student is encouraged to experiment in both silver and non-silver processes and to conduct research independently.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
The Anthropocene | 2006 (001) | Oliver Sann | Wed
8:30 AM - 11:15 AM In Person |
Description
'The Anthropocene' is the name of the new geological epoch, first proposed by atmospheric chemist Paul Crutzen and marine biologist Eugene F. Stroemer in 2000, with the proposal that human species has become the single prominent agent of change affecting the earths geology and ecosystems. Since then, the conversations on the Anthropocene, climate change, sustainability and the planetary ecological crisis have proven that the extremely complex problems the Earth is facing can only be addressed by new forms of collaboration and innovative knowledge production.
Photography plays in this context a pivotal role and goal of this class is to promote empirical and forensic work on landscapes of the Anthropocene, the degraded and damaged ecologies of the planet Earth. Collaborative work and access to different material forms, laboratories, analog and digital photographic media as well as scholarship and first-person testimony on health, race, politics and aesthetics, will help generate diverse perspectives on the entangled realities of the world and the complex human-natural systems. Questions of environmental justice and environmental ethics will take center stage in this class. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Medium Format | 2009 (001) | Sonja Ruth Thomsen | Wed
9:00 AM - 3:00 PM In Person |
Description
This course will explore the methods, history and potential of medium format film photography. Students will learn to use a wide variety of medium format cameras including the Mamiya 7, Mamiya RZ 67, Mamiya 645, Pentax 67, Holga and various Hasselblad systems. Using a wide variety of black and white and color medium format films, students will become familiar with several film development techniques, and both analog and digital printing methods to create traditional and experimental photographic work.
PrerequisitesPrerequisite: 3 credits of PHOTO 1000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Color Concepts | 2010 (001) | Dylan Yarbrough | Mon/Wed
6:45 PM - 9:15 PM In Person |
Description
Color Concepts introduces complex ideas and processes associated with the various applications of color in photography. Emphasis is on conceptual, theoretical, cultural, and perceptual aspects of color related to both vision and photographic image-making. The class explores all aspects of color photography. It traces the roots of analog three-color photographic processes first theorized in 1855, less than 30 years after the advent of black and white photography, and explores the successes and the limitations of color film (for example, the racial bias of color film.) Lastly, the class examines contemporary color dominant popularity amongst artists since the 1970s, through the context of a color constructed digital future.
Through a variety of exercises and assignments students will develop a keen eye to seeing color in the world and on the screen, use peer discussion and collaboration to advance critique skills, and build aptitude for visual literacy. Technical skills learned, include image capture, color correction, qualities of light, color corrected printing on varying scales and media, digital camera and medium format film camera authorizations, strategies of presentation while expanding on digital skills introduced in PHOTO 1001. PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Color Concepts | 2010 (002) | Cecil McDonald, Jr. | Mon
9:00 AM - 3:00 PM In Person |
Description
Color Concepts introduces complex ideas and processes associated with the various applications of color in photography. Emphasis is on conceptual, theoretical, cultural, and perceptual aspects of color related to both vision and photographic image-making. The class explores all aspects of color photography. It traces the roots of analog three-color photographic processes first theorized in 1855, less than 30 years after the advent of black and white photography, and explores the successes and the limitations of color film (for example, the racial bias of color film.) Lastly, the class examines contemporary color dominant popularity amongst artists since the 1970s, through the context of a color constructed digital future.
Through a variety of exercises and assignments students will develop a keen eye to seeing color in the world and on the screen, use peer discussion and collaboration to advance critique skills, and build aptitude for visual literacy. Technical skills learned, include image capture, color correction, qualities of light, color corrected printing on varying scales and media, digital camera and medium format film camera authorizations, strategies of presentation while expanding on digital skills introduced in PHOTO 1001. PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Black and White | 2011 (001) | Galit Julia Aloni | Mon
9:00 AM - 3:00 PM In Person |
Description
This course introduces black-and-white printing techniques including darkroom and inkjet printing, contrast control through development, the zone system, scale of images, graphic arts film, studio lighting, different darkroom techniques, alternative cameras, and different papers and films.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Black and White | 2011 (002) | Robert Clarke-Davis | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course introduces black-and-white printing techniques including darkroom and inkjet printing, contrast control through development, the zone system, scale of images, graphic arts film, studio lighting, different darkroom techniques, alternative cameras, and different papers and films.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Black and White | 2011 (003) | Nathan Miller | Fri
9:00 AM - 3:00 PM In Person |
Description
This course introduces black-and-white printing techniques including darkroom and inkjet printing, contrast control through development, the zone system, scale of images, graphic arts film, studio lighting, different darkroom techniques, alternative cameras, and different papers and films.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Lighting Fundamentals | 2015 (001) | Marzena Abrahamik | Mon
9:00 AM - 3:00 PM In Person |
Description
Students are introduced to using light as a means for creative control. By studying the light around us, we are able to better serve our work through specific choices with regard to existing or ambient light and light augmented by other sources of illumination. Students learn the rudiments of metering, mixing light sources, including the use of on-camera or hand-held electronic flash within existing lighting conditions. This is a practical course that enables students to better control and use light and lighting in their work.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Lighting Fundamentals | 2015 (002) | Mayumi Lake | Thurs
9:00 AM - 3:00 PM In Person |
Description
Students are introduced to using light as a means for creative control. By studying the light around us, we are able to better serve our work through specific choices with regard to existing or ambient light and light augmented by other sources of illumination. Students learn the rudiments of metering, mixing light sources, including the use of on-camera or hand-held electronic flash within existing lighting conditions. This is a practical course that enables students to better control and use light and lighting in their work.
PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Large-Format Camera | 3002 (001) | Alan Labb | Tues
9:00 AM - 3:00 PM In Person |
Description
Large Format Photography introduces students to the ideas and aesthetics associated with a large-format view camera. Students will learn pre-visualization, camera movements, perspective control, large-format optics, and how to handle large format sheet film. Assignments focus on portraiture, landscape, studio, and architecture. Students are encouraged to develop a personal style via flexible assignments. Technical skills acquired include view camera setup and control, experience with sheet film, the zone system, large format scanning, and analog and digital printing. All enrolled students are assigned a 4x5 studio camera and will have access to an 8x10 and 4x5 field cameras, along with a variety of optics and accessories.
A variety of technical readings from multiple sources will help students understand perspective control, camera setup, lens choice, bellows extension, available film choices, exposure, and reciprocity compensation associated with large format photography. Additional readings and screenings will provide examples of historical and contemporary work created utilizing large format photography, and highlight the cameras meditative qualities and excellent resolution and control. PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Intermediate Individual Projects | 3004 (001) | Sonja Ruth Thomsen | Tues
9:00 AM - 3:00 PM In Person |
Description
Every idea has a medium most suited to its execution, but often not the one in which the artist is working. This class considers new ways of translating ideas into other media to develop a sense of possibilities beyond the straight photograph. Conceptual art has given us an understanding of the triggers that might provoke an investigation of layers of meaning within the simplest of ideas. Assignment encourage students to think beyond the usual way they work and include the use of collaboration, installation, audio, video, live feed, the internet, performance, and performative uses of photography.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentLocation |
Top: Photographic Books | 3005 (001) | Robert Clarke-Davis | Wed
9:00 AM - 3:00 PM In Person |
Description
The class will address the photographic book. we will investigate the numerous styles and how it influences meaning. we will question the limits of books where photography will be the main emphasis. this is not a class that will be primarily on structure we will not be making books beyond the most basic level. the quality and traits of print on demand publishing and visit with local publishers and editors will be arranged. an integral component of the class will be the chicago artist book fair. we will almost live in the joan flash artist book collection. the main text will be the structure of the visual book by keith smith. among courses that would work well in conjunction are - sequencing and structure and artist books.
PrerequisitesPrerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent. |
Class Number |
Credits |
DepartmentLocation |
Top: The Future of the Past: Artists & Archives | 3005 (003) | Dawit L. Petros | Thurs
9:00 AM - 3:00 PM In Person |
Description
Topics courses cover a wide range of aesthetic concerns and change according to the semester and faculty, allowing a more in-depth examination of specific topics within photography. The courses provide students access to the specific topics driving faculty research and practice, as well as allowing the department to nimbly address issues pressing to our current context and time. Additionally, these courses are used to address the interests of students not already covered in our curriculum. The format ranges in each section, but these six hour studio courses are meant to engage students in both research and making, developing their own artistic trajectory. The format is often experimental, modeling the artistic practice of the instructor and generously expanding the photographic medium.
Close-reading and discussion are essential; looking at and discussing art; creating new work and exchanging feedback. Recent topics have included: Decolonizing the Gaze, Desire, Representation and the Self, Screen Capture, Creative Production and Portfolio, Observing Power, Rich and Poor, The Archive, and Constructing the Rural. Readings are subject to individual course topics and not exemplified here. PrerequisitesPrerequisite: 6 credits of PHOTO 2000-level courses or PHOTO 3008 or by instructor consent. |
Class Number |
Credits |
DepartmentLocation |
Advanced Post-Production and Fine Printing | 3007 (001) | Matthew C. Siber | Fri
9:00 AM - 3:00 PM In Person |
Description
Advanced Post-Production and Fine Arts Printing refines and expands the digital imaging skills learned in previous classes. Emphasis is placed on all stages of production that occur after image acquisition and streamlining digital workflow and mastering advanced editing skills in preparation for creating exhibition-quality prints. Workflow techniques include advanced image correction, color management, and advanced masking methods. Photo manipulation approaches focus on using Photoshop and other photo editing software addons and programs as creative tools for exploring the conceptual applications of retouching, image compositing, color grading, and other post-production methodologies.
This course utilizes a variety of technical assignments designed to build and reinforce digital skill-building. Students will progress through the technical material via structured assignments and the completion of self-conceived creative projects. Readings and discussions address contemporary theoretical issues surrounding digital imaging and the constant shift and development of new capabilities associated with digital output technologies. Since the toolsets related to color science, photographic manipulation and digital asset management software are in constant flux, assignments will also incorporate research methodologies and problem-solving specific to students? workflow and output needs. Students will gain new perspectives on current toolsets, and the skill to evaluate and stay current as toolsets associated with post-production continue to evolve. PrerequisitesPrerequisite: PHOTO 1001 and PHOTO 2010. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Structuring, Sequencing and Series | 3010 (001) | Aimee Beaubien | Mon
9:00 AM - 3:00 PM In Person |
Description
Photography is everywhere. Sequences and series are the ubiquitous ways we most often see photographic images. Photographic meanings are pliable in shifting contexts from published sequences online and in print, to images in photobooks, exhibitions and installations. This class critically examines how series of images are structured and the significance those structures hold.
?That photography resists being shaped by any single set of imperatives or standards ? as it literally permeates our public and private and our rational and fantasy lives ? renders it, by its very nature unruly and hard to define.? Marvin Heiferman. This course will address the complex and continual shifting nature of photography; what influences our understanding of how a photograph functions while exploring a diverse array of photographic genres and applications. Assignments develop skillful use and understanding of serial imagery by engaging narrative and non-narrative strategies in a variety of sequences, books, zines, portfolios, web-based projects, installations, videos, and projected presentations. PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Exploratory Media | 3011 (001) | Sara Condo | Fri
9:00 AM - 3:00 PM In Person |
Description
Exploratory Media examines the fluidity and connection between various forms of media. The course builds on the history of Conceptualism, an artistic practice born in the 1960s that prioritized the idea, allowing the medium to follow as well as the highly influential theory of the medium itself being meaning and message. This course will highlight the history of artists who worked with a wandering ¿nomadic¿ mindset due to access to new technologies such as video art collectives of the 1970¿s as well as photographers who work within a non-traditional lens based practice. This laboratory-like course encourages students to experiment and iterate: In this course students are asked to consider their artistic intentions through different kinds of media like performance, sculpture, sound, while also focusing on different outputs for lens based work such as alternative photographic substrates, performance, installation. The course structure relies on assignment-based projects, frequent hands-on studio experimentations, peer-to-peer feedback, and looking at other artists' work in a variety of mediums. Intermittent readings, lectures, and screenings provide a conceptual framework for this work.
PrerequisitesPrerequisite: 3 credits of PHOTO 2000 level courses. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Capturing Time: The Intersection of the Cinematic and Photographic Image | 3032 (001) | Alan Labb | Thurs
6:45 PM - 9:30 PM All Online |
Description
Capturing Time explores the relationship between cinematic and photographic images through historical, theoretical, and artistic practices. Students will investigate the elusive concept of time and its presence across disciplines, forming the foundation for creating and experiencing time-based art.
Weekly readings, screenings, and research will examine time, temporality, and the boundaries of still and moving images. Historical and contemporary resources will inform studio work, including visual exercises and a final project, culminating in a substantial body of work in each student¿s chosen medium. PrerequisitesPrerequisite: PHOTO 1001. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Sensitivity & Exposure: Concepts and Techniques in Light Based Printing | 3036 (001) | Jan Tichy, Frances Lightbound | Wed
9:00 AM - 3:00 PM In Person |
Description
In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes.
The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students. The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Sensitivity & Exposure: Concepts and Techniques in Light Based Printing | 3036 (001) | Jan Tichy, Frances Lightbound | Wed
9:00 AM - 3:00 PM In Person |
Description
In this course, we'll delve into the intriguing intersection of photography and printmaking, acquiring light and pressure-based printing skills and conceptually integrating them into an art practice that approaches print as a site-responsive medium, sensitive to light, pressure, and context. The introductory section explores the material sensitivity of embossing and frottage, treating them as akin to documentary photography. The second section introduces light sensitivity through cyanotype and gelatin silver processes, engaging directly with objects and surfaces. The final segment employs digital fabrication to create laser-engraved linoleum blocks and printed photogravure plates, enabling relief and intaglio inking techniques and printing processes.
The course will introduce pivotal artists associated with taught printing techniques and their historical context. We'll explore the works of artists such as Anna Atkins and Albrecht Durer, who played significant roles in the development of their respective techniques. We'll also examine figures like Alfred Stieglitz and Robert Overby, who influenced the trajectory of their media, and contemporary artists like William Kentridge and Do Ho Suh, who have reshaped our perception of print. Additionally, we'll read and screen 'Contact: Art and the Pull of Print' by Jennifer Roberts from Harvard, and invite her for an online discussion with our students. The coursework will adhere to a media and technique-based structure, with the creation of six bodies of work with separate critiques. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Digital Light Projections | 3050 (001) | Jan Tichy | Thurs
9:00 AM - 3:00 PM In Person |
Description
This course embraces the concept of projection as a broad field of art practice. Starting with the magic lantern, the course investigates the history of projection related practices that shape the parameters of visual perception and communication. Deconstructing the concept of the screen, the course focuses on projection in sculptural and installation contexts.
Microcontrollers and Adobe software is used in unorthodox ways to shape visual elements for digital light projection. History of visual, technical and conceptual use of light is accessed to investigate the interactions of projections with objects and space. |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Junior Seminar: Professional Practice | 3900 (001) | Marzena Abrahamik | Wed
9:00 AM - 3:00 PM In Person |
Description
This six-hour seminar is a professional practice class for life after graduation, focusing on how each student can build a sustainable practice based on their own strengths and working style. Students create a website, CVs, write grant proposals, artist statements, and statements of purpose, learning the different content and uses of each. Readings on contemporary artists and 'best practices' for editing, exhibition, and installation of artwork will support class work. This course embraces the understanding that developing a sustainable practice outside of school includes building creative community, developing an independent research practice and other activities related to each individual¿s work. As such, the highlight of this course will be bi-weekly visits and workshops from a diverse range of working artists, curators, residency staff and others to speak about these opportunities, as well as how to build a fruitful creative life. For example, we will develop strategies for talking about your work that fit your own personal style with a Chicago curator, and present grant materials to a mock panel to get productive feedback. The Junior Seminar is one of four required classes intended to function as a 'spine,' providing guidance and structure for SAIC's open and interdisciplinary curriculum.
PrerequisitesPrerequisite: 2900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Advanced Photography/Individual Projects | 4003 (001) | Lali Khalid | Thurs
9:00 AM - 3:00 PM In Person |
Description
This class concentrates on self-initiated work with an emphasis on student-drivencreative research and intensive project development. Students explore inventive ways to present work while experimenting with different strategies to deliver relevant contextual information. Independent work is reinforced with ongoing group discussions exploring broader issues around how artists and artworks communicate a complex of meanings. This class supports the production of a focused body of work and can be taken multiple times as well as in conjunction with Senior Capstone in preparation for your BFA exhibition.
Models of open-ended creative research, production and professional engagement is explored in readings, screenings and discussions. Class activities include combinations of lectures, discussions, workshops, critiques, independent work time and individual meetings. Students are expected to set personal goals while working through a single project or set of concerns for the entire semester to advance work that demonstrates technical facility and expanded knowledge of the conceptual underpinnings of the ever-evolving fields of contemporary photography and visual culture. Participants refine statements and proposals, employ creative approaches to editing a body of work in preparation for presentation in various venues and formats while developing a broader understanding of how to support the promotion of the work. PrerequisitesPrerequisite: 9 credits of PHOTO 3000-level classes. |
Class Number |
Credits |
DepartmentLocation |
Senior Photo Studio Seminar | 4900 (001) | Dawit L. Petros | Tues
9:00 AM - 3:00 PM In Person |
Description
This interdisciplinary capstone, with an emphasis on contemporary photography and visual culture, is structured as an intensive critique and mentoring class focused on the development and presentation of culminating work at the end of the BFA and the continued progression of studio work beyond the BFA exhibition. The course supports the production of self-initiated work, a successful BFA show and a road map for a sustainable art practice after graduation. Preparations for the BFA exhibition include workshopping project proposals, budgets, production schedules, the development of new work and an array of possible final presentation forms.
Readings, screenings and discussions will examine useful models of participation in cultural production and a critical framework for analyzing a range of platforms to share work online, in print and exhibition. Studio visits will provide insight into the day-to-day life of artists at various stages in their career ranging from current SAIC grad students to working professionals. Online and printed portfolios utilizing an ever-evolving archive of work will be refined along with professional supporting materials such as statements, CVs and artist talks necessary for a professional practice beyond graduation. PrerequisitesPrerequisite: 3900 course |
Class Number |
Credits |
DepartmentArea of StudyLocation |
Photographic Imaging Technical Seminar | 5005 (001) | Alex Edward Wieder | Tues
3:30 PM - 5:00 PM In Person |
Description
Photographic Imaging Technical Seminar is a graduate-level class that provides students with an in-depth exploration of the technical and conceptual aspects of the photography department. Students will gain certification to use the equipment and facilities of the department while also learning about the department¿s acquisition, workflow, and photographic output capabilities. Examples drawn from contemporary art and current theoretical materials will be analyzed and discussed to enhance students' understanding of the subject matter. Additionally, students will present works in progress and begin producing new work at the outset of the semester. In addition to advanced certification in photographic equipment, the course allows students to develop their skills in individual project development while practicing and researching tools for production while focusing on developing students' familiarity with older, current, and developing technical processes. Students will also develop their ability to troubleshoot and resolve technical challenges encountered while producing finished work for critique.
In light of the simplified and automated photographic tools available today, students with diverse educational backgrounds are enrolling in SAIC's graduate program. This graduate-level technical seminar is designed for students with diverse technical backgrounds, including those with little traditional photographic experience. The course assumes that all students are proficient image makers and aims to level up their technical skills by providing a pathway to reinforce or introduce advanced photographic processes and control methodologies. Throughout the course, students will gain certifications and introductions to analog and digital cameras, darkroom techniques, facilities, studios, scanning, computing, and analog, digital, and alternative processes output facilities. To determine weekly exercises, the class will proactively survey students' technical needs and coordinate with the 5006 Photo Graduate Seminar. Additionally, students will work each week collaboratively to address technical issues and troubleshooting that arise during active image production. The technical exercises will help students build fluency and comprehension with various cameras, refine their personal workflow, and cover core lighting and advanced printing techniques. Technical lectures will build upon and reinforce these learned skills. In light of the simplified and automated photographic tools available today, students with diverse educational backgrounds are enrolling in SAIC's graduate program. This graduate-level technical seminar is designed for students with diverse technical backgrounds, including those with little traditional photographic experience. The course assumes that all students are proficient image makers and aims to level up their technical skills by providing a pathway to reinforce or introduce advanced photographic processes and control methodologies. Throughout the course, students will gain certifications and introductions to analog and digital cameras, darkroom techniques, facilities, studios, scanning, computing, and analog, digital, and alternative processes output facilities. To determine weekly exercises, the class will proactively survey students' technical needs and coordinate with the 5006 Photo Graduate Seminar. Additionally, students will work each week collaboratively to address technical issues and troubleshooting that arise during active image production. The technical exercises will help students build fluency and comprehension with various cameras, refine their personal workflow, and cover core lighting and advanced printing techniques. Technical lectures will build upon and reinforce these learned skills. Technical readings for the course may include: Schewe, Jeff. The Digital Negative. Berkeley, CA: Peachpit Press, 2012 Davis, Phil. Beyond the Zone System. Boston: Focal Press, 1996. Additional suggested readings might include: Barthes, Roland. Camera Lucida: Reflections on Photography. New York: Hill and Wang, 1981. Solomon-Godeau, Abigail. Photography after Photography. New York: Duke University Press, 2017. Fusco, Coco, and Brian Wallis (eds.). Only Skin Deep: Changing Visions of the American Self. New York: Harry N. Abrams, 2003. Ritchin, Fred. 'Toward a Hyperphotography, After Photography.' Aperture, no. 124 (1991): 16-25. These texts can provide students with further insight into photography's conceptual and historical aspects, and offer critical perspectives that can enrich their understanding of the medium. |
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DepartmentLocation |
Take the Next Step
Visit the graduate admissions website or contact the graduate admissions office at 800.232.7242 or gradmiss@saic.edu.