Courses

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How do artists make art? How do we evaluate it? In this course, students of all levels get to experience firsthand the particular challenges and rewards of art making through practical engagement with five fields — creative writing, visual art, theater, dance, and music — under the guidance of professionals.

The great thing about drawing is you can do it anywhere! This course approaches drawing as a way of thinking and seeing. We'll introduce basic techniques while also encouraging experimentation, with a focus on both drawing from life and drawing as an expressive act. Students will be introduced to the basics of line, shading, proportion, composition, texture and gesture.

An introduction to the materials and methods of painting, addressing form and light, color and its interaction, composition, scale, texture and gesture. Students will experiment with subject matter including still life, landscape, architecture, self-portraiture and abstraction, while painting from a variety of sources: life, sketches, maquettes, collages, photographs and imagination.

An introduction to the processes of photography through a series of problems directed toward lens projection, the handling of light-sensitive material, and camera operation. The processes will begin with cyanotypes and culminate with large format film exposure and processing, and printing.

This studio course introduces students to the aesthetic and theoretical implications of digital photography. Emphasis will be on gaining competency with digital equipment and editing techniques so that students can learn to express themselves and their ideas through the medium.

This studio course introduces students to graphic design with a particular emphasis on typography. Students learn typographic history through lectures that highlight major shifts in print technologies.

This course introduces students to techniques for decoding and creating graphic messages in a variety of media, and delves into issues related to visual literacy through the hands-on making and analysis of graphic form.

This studio course engages students in the decoding of and formal experimentation with the image as a two-dimensional surface. Through projects, readings, and discussions, students take a hands-on approach to making with an array of technologies (the camera, video camera, computer, solar printing, web publishing) and forms (billboard, symbol, screensaver, book) to address the most basic principles of design, such as visual metaphor, composition, sequence, hierarchy, and scale.

This studio production class will engage in a variety of timed-based composition, visualization, and storytelling techniques. Students will learn foundational methods of 2D animation, acquire a working knowledge of digital animation software and technology, and explore the connective space between sound, image, and motion possible in animated film.

This class will be a studio introduction to sculpture, with particular emphasis on the study of how form, space, and a wide variety of materials and processes influence the visual properties of sculpture and the making of meaning.

In this course, students will reconsider sound as material through projects exploring physical technologies of sound-making along with listening and viewings of related arts and artists, readings and writings in theories of sound, new media, and phenomenology. This class offers a hybrid experience-an engagement with art-making and seminar, reconsidering our relationship to the body, physical material, and sound embodied in the world.

This class experiments with 3D fabric construction, weaving, knitting, knotting and more as a means for making sculpture.

This course is an introduction to the fascinating history of collage.

In the real world, what relationships have the necessary friction to generate compelling films? Documentary Filmmaking I will introduce you to the art, craft and theory behind attempts to answer this question. Through productions, readings, screenings, and discussions, you'll take your first steps into the world of non-fiction filmmaking. You will analyze documentary filmmaking as an aesthetic practice and a means of social discourse. Further, as films are often vessels for their directors, preoccupations, the course will push you to examine the formal, social and political concerns that animate your life during these turbulent times.

Narrative Filmmaking 1 is a hands-on production class designed for students from all academic backgrounds to learn about the art of video production and develop their creative voices using cellphones! The course will cover technical aspects of making films, including shot language, sound recording, and editing, and will explore what it means to make images at this critical moment of time.

This course will examine photography's constant negotiation of evolving technologies. Students shoot black and white and color film and scan and print it digitally to broaden their photographic strategies, their technical skills, and their understanding of the medium of photography. A range of tools will be introduced, including analogue film development, scanning negatives, Photoshop processing, and inkjet printing.

An introduction to the art and craft of lighting design for the stage and an exploration of light as a medium for expression. Students will develop an ability to observe lighting in the world and on the stage; to learn to make lighting choices based on text, space, research, and their own responses; to practice being creative, responsive and communicative under pressure and in company; to prepare well to create under pressure using the designer's visual toolbox; and to play well with others-working creatively and communicating with directors, writers, performers, fellow designers, the crew and others.

This course is course designed for students interested in learning the fundamentals of working with clay.

This course will introduce students to core screenwriting principles and techniques.

An intermediate exploration of narrative and avant-garde narrative film production through the creation of hands-on digital video exercises, short film screenings, critical readings, and group critiques.

How can posthumous research on a curatorial subject influence the structure and form of an exhibition or a new conceptual artwork? This course retraces the steps taken to produce McClodden's 2015-2019 artistic and curatorial work centering the lives of three Black gay men—poet Essex Hemphill, writer/poet Brad Johnson, and composer Julius Eastman—in order to examine key concepts central to research-based practice. Students will be expected to produce a research/exhibition study of an artist whom they feel has been obscured posthumously.

The course addresses current issues in painting, drawing, sculpture, film, video, photography, performance and installation. It includes readings and discussions of current contemporary art topics, a visiting artist lecture series, critiques of students' work, and an artist book project.

This course offers an exploration of visual storytelling, combined with a grounding in the practical, communicative, collaborative and anti-racist skills necessary to create physical environments for live theater making. Students are mentored as designers, directors or creators (often in teams) on realized projects for the theater program season.

The structure of Senior Issues and Exhibition Methods is to create a conversation and vision for, and in regards to and around your Senior Thesis. The nature of the class is somewhat informal and conversational, with the majority of class time being for student studio presentations and visiting artists lectures. There are two projects; a proposition presentation and a “handmade” poster project which will be virtual this year.

This year, students will design, build, and critically analyze three common objects — a Cushion, a Prosthetic, and a Light Fixture — each of which will be informed by the diverse structural properties of a single material: ash wood.

This course will introduce students to screenwriting adaptation techniques, focusing primarily on the challenges of adapting “true stories” pulled from various non-fiction sources.