Mark Krisco

This class reveals the fine art, photography and art theories of late 19th century to the present day. The first half of the semester focusing on the period 1851 to the economic crash of 1929; which had been a time of rapid social, economic and political change impacted by revolutions in communication systems, technology and easy availability of reproductions. Students will gain a comprehensive and chronological picture of the major art movements and their engagement with or reaction against previous art and artists. The major artists of the major movements of Impressionism, Cubism, Purism, Expressionism, Futurism, Surrealism and Abstraction will be addressed in regards to their aims and achievements.These include - to name the most prominent - Claude Monet, Paul Cezanne, Picasso, Braque, Leger, Kirchner, Severini, Magritte, Dali and Kandinsky and Mondrian.The class ending with major 20th century artists from Pollock and De Kooning of Abstract Expressionism to Pop artists Andy Warhol and Roy Lichtenstein to current times and how they relate to this legacy and the concept of an art museum in terms of urban capitalism, Colonialism, Nationalism and Internationalism. This class has weekly reading assignments from two major texts ; one written by art historian Richard Brettell and one written by artist Alex Katz. Written questions about these readings will be assigned as well. The class also often has sketching and student discussions in the museum. There is also one final paper on the artist covered most admired by each student.

Exploring the art, fashion, music of the 'Jazz Age'this class reveals the enduring impact 1920's aesthetics has had on contemporary fashion, art and social customs. Starting with an exploration of the differing mind sets of Europeans versus Americans, this class then takes an in-depth look of the artists and lifestyles 1920's Paris that had been greatly impacted by the influx of Americans after the First World War. The class ends with the lasting legacy of the Jazz Age, which was seen particularly in the 1960's, but currently has resurfaced in contemporary issues of gender identity. More specifically, this class examines using film and texts the two key Jazz Age couples; F. Scott and Zelda Fitzgerald and Gerald and Sara Murphy. The former couple establishing the persona of 'the flapper' and the latter couple establishing a major link between American in France and the Famous School of Paris artists particularly Picasso. Other key figures are examined such as the first major Chinese American actress Anna May Wong and the black performer Josephine Baker as well as fashion designer Coco Chanel and film star Clara Bow. Course work revolves around two key texts as well as a reading the Great Gatsby. Reading questions accompany the 1st text and essay is required to explore the other text in relation to the Great Gatsby. There is also one final paper on one Jazz age artists of the student's choice.

This class surveys the development of draftsmanship as the key element of workshop practice. This class exploring in-depth all the major drawing materials and their formulation; all of which are still used today. This class then looks at which major artists chose each of these media as an example to illuminate how students should also search for the proper drawing materials to express their own individual visions. Aspects of drawing such as history of caricature and self portrayal are also analyzed. Major artists are explored from post medieval age i.e. Jan Van Eyck to Renaissance masters such as Leonardo, Michelangelo and Raphael especially in regards to drawing materials, techniques and anatomy. Contemporary artists as diverse as David Hockney, and Jim Dine, William Kentridge are also examined through documentary films and discussed in relation to former art techniques. This class making the student aware of the ongoing impulse of mankind to draw and yet also makes the student highly aware how the discipline of drawing is key to a whole range of artists from fine artists, to architects to animators. There are weekly reading fromm a book on Old Master Drawings mostly in regards to materials, techniques and anatomy. But equally are many trips to the Art Institute museum to establish through discussions the learning of connoisseurship. Two papers: a mid-term and a final are written about specific drawing of a specific artist of the student's choice; one of which must be a class presentation.