Each student is responsible for collecting any and all works of art that he/she may submit in connection with a given course/studio within 14 days after the conclusion of the term, unless he/she makes special arrangements with the program. The program may use or dispose of any uncollected works as it deems appropriate.
Visual Arts Courses
An introduction to the materials and methods of painting.
An introduction to the processes of analog photography through a series of problems directed toward the handling of film-based cameras, light-sensitive paper, darkroom chemistry, and printing.
This studio course introduces students to aesthetic and theoretical implications of digital photography.
Students in this course will consider the ways in which a graphic design object's characteristics are affected by its ability to be copied and shared, and by the environment in which it is intended to circulate.
In the real world, what relationships have the necessary friction to generate compelling films? Documentary Filmmaking will introduce you to the craft, history and theory behind attempts to answer this question.
An introduction to narrative and avant-garde narrative film production through the creation of hands-on digital video exercises, short film screenings, critical readings, and group critiques.
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.
Over the past fifty years, many visual artists have taken up the process and methods of academic research as an impetus for works of art. Through readings, discussions, case studies, and studio projects, students in this class will engage the immediate context of the University as source material for their artworks, and as a means of exploring the effect that research and knowledge production might have on contemporary artistic practice.
This course will introduce students to core screenwriting principles and techniques.
What are the environments, fictions, fantasies, and ideologies that condition the artist at work? This course takes as its investigative locus the artist's studio, a space of experimentation and inspiration, but also of boredom, sociability, exhaustion, and critique.
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.
A required seminar for Practice of Art majors and Program in Visual Arts certificate students emphasizing contemporary art practices and ideas. The course addresses current issues in painting, drawing, sculpture, film, video, photography, and performance installation.
Drawing is a distinct process; it can serve as a mode of documentation or as a preparatory step in many other processes. This allows drawing to point to a past event, create a primary experience in the present, and/or to serve as a model or plan for what is to come. We will explore these multiple uses of drawing and their accompanying temporalities through approaches that emphasize a wide range of formal effects — illusionistic form, space, flatness, mark-making, opacity, transparency — while simultaneously exploring how artists have turned to drawing to record, index, propose, invent, and fantasize.
This seminar provides senior Practice of Art Track and VIS certificate students a context for investigating and discussing contemporary art exhibition practices.
This class will be a series of material investigations in relation to the human body at rest. Each student will design, build, and critically analyze a custom bed frame that exploits the inherent properties of a singular material—ash wood—across a spectrum of rigid and flexible structures
This course will introduce students to screenwriting adaptation techniques, focusing primarily on the challenges of adapting “true stories” pulled from various non-fiction sources.