SMFA at Tufts Fall 2021Course Catalog

COURSE CATALOG FALL 2021

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A note regarding work expectations: 4 SHU Studio Art courses are scheduled for 4-hour blocks. The overall work expectation for each student is a minimum of 12 hours invested per week (4-hour block + 8 additional hours of course work).

2 SHU Studio Art courses are scheduled for 2-hour blocks. The overall work expectation for each student is a minimum of 6 hours invested per week (2-hour block + 4 additional hours of course work).

All course times are listed in Eastern Standard Time (EST)

Key to course subject codes DIG – Digital Media DRW – Drawing DRWM – Drawing (open to non-SMFA BA/BS students only) EDS – Art Education ENGS – English GRA – Graphic Arts MDIA - Media Arts PAI - Painting PAIM - Painting (open to non-SMFA BA/BS students only) PER – Performance PHT - Photography PHTM - Photography (open to non-SMFA BA/BS students only) PRT – Print & Paper SCP – Sculpture VMS – Visual & Material Studies SMFA – Cross-disciplinary, Guided Studies, Graduate and Post-Baccalaureate Programs

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Errata: Changes are noted in red

DIG-0102 The Art of the Fake, Tuesday, 2-6pm DRW-0013-02 Intro to Drawing Studio, Thursday 5-7pm DRW-0018-02 Intro to Drawing: Intensive, Wednesday 2-6pm GRA-0114 Graphic Arts Toolbox, Thursday, 11-1pm, 2-4pm PAI-0019 Introduction to Abstraction: Flatlands, Thursday, 11-1pm, 2-4pm PHT-0135 Witness: Art & Action, Tuesday 2-6pm 4 SHU PHT-0111 Intro to Digital Photography, Mon 9-1pm (Vincent Martin)/Wed 2-6pm (Anthony Hamboussi) PHT-0149 Digital Printing and Color Theory, Tuesday, 9-1pm (Laurel Nakadate) PRT-0108 Driving in Reverse: Print History, Wednesday, 11-1pm, 2-4pm PRT-0111 Collaborative Print, Thursday 11-1pm, 2-4pm PRT-0112 Games and Strategies, Tuesday 11-1pm, 2-4pm PRT-0167 Series and Sets, Friday, 9-1pm MDIA-0148 Trick Films & Special Effects, Tuesday 2-6pm MDIA-0165 A History of Sonic Art, Tuesday, 11-1pm SCP-0123 Individual Ceramics Studio Projects, Friday, 9-1pm SCP-0136 Shaping the Body Politic, Thursday, 9-1pm (Erin Genia) SMFA-0116 Writing for Artists, Tuesday 9-11am SMFA-0195 Creative and Professional Practices, Tuesday 2-4pm SMFA-0204 Graduate CAP Seminar, Monday 9-12pm (TBA, Megan McMillan) SMFA-0203 Graduate Group Critique, sec. 1, Tuesday 6-9pm VMS-0193-01 Imagining the Amazon, Tuesday & Thursday 10:30-11:45am Cancelled: GRA-0113 webCrawlers: Artist’s Book, Thursday 11-1pm, 2-4pm Cancelled: DRW-0114 Representation and Narrative, Monday 2-6pm Cancelled: MDIA-0183 The Power of Feminist Art, Wednesday 9-1pm Cancelled: MDIA-0180 Public as an Art Form, Tuesday 9-1pm Cancelled: MDIA-0147 The Naturalist Animator, Tuesday, 2-6pm Cancelled: PAI-0193: Directed Study in Painting, Tuesday 11-1pm Newly added: GRA-0184 Self-publishing an Artist’s Book, Tuesday 11-1pm, 2-4pm Newly added: GRA-0191-01 Coded Type in Designed Space, Monday, 2-6pm Newly added: GRA-0191-02 Special Topics: Design for Social Change, Wednesday, 11-1pm, 2-4pm Newly added: GRA-0191-03 Special Topics: Narrative in Sequential Art, Monday, 2-6pm Newly added: GRA-0191-04 Special Topics: Environmental Graphic Design, Friday, 11-1pm, 2-4pm Newly added: PER-0102 Beginning Performance, Friday, 9-1pm Newly added: PHT-0191 Special Topics: Advanced Photography, Friday, 9-1pm Newly added: SMFA-0112 Socially Engaged Art, Wednesday 9-1pm

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GRADUATE COURSES Graduate Group Critique Medhin Paolos, A. David Guerra, Guadalupe Maravilla SMFA-0203 3 SHU Section 1: Tuesday 6-9pm (Guadalupe Maravilla) Section 2: Monday 6-9pm (Medhin Paolos) Section 3: Monday 6-9pm (A. David Guerra)

This course is designed to build and develop the verbal and written articulation critique skills among the first and second year graduate students in a group setting facilitated by a faculty member. Critique is an essential skill for students to develop. Graduate Group Critique is a forum in which the capability of each student to identify and articulate the concerns, issues and motivations that form the basis of their research and practice expands. Through focusing on the ability to articulate the concerns investigated and addressed through each individual student’s art work, in whichever form that may take, this course assists students in both preparing for their review boards and preparing for the defense of their thesis. All first and second year Master of Fine Arts students are required to take this course each semester.

Graduate Contemporary Art Practices (CAP) Seminar Megan McMillan, Katherine Shozawa SMFA-0204 2 SHU Section 1: Monday 9-12pm (Katherine Shozawa) Section 2: Monday 9-12pm (Megan McMillan) Contemporary Art Practice (CAP) is a mandatory graduate seminar open only to first year Master of Fine Arts students. It is held in the fall semester and is taught by members of the graduate faculty. Topics will be announced.

Graduate Individual Critique Georgie Friedman SMFA-0205 3 SHU, Wednesday 2-5pm

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This course invites second-year grad students to meet individually with faculty over the length of the semester. The one-on-one meetings will assist students in the development of their personal projects through a series of rigorous conversations scheduled according to the scope of the student's needs.

Students will take this course for credit as an alternative to the grad group critique.

Artists and Curatorial Practice A. David Guerra SMFA-0293 3 SHU, Friday 9:30-12pm Artists and Curatorial Practice is a seminar addressing the study of curatorial practices, including approaches to thematic, site-specific, institutional and/or independent curating that will be covered as well as the role of the “artist as curator.” The course includes readings, lectures, and discussions on contemporary curating, art, global exhibitions, debates in the field and covers critical or creative writing related to curating exhibitions as artists. A significant amount of time is devoted to visual presentations and lectures about exhibitions, performances, and unique events. Online, web-based projects and curating during the pandemics address how artists might seize the current moment to create online exhibitions and physically distanced art events. Professional skills and practices, such as installation preparedness, work methodologies, etiquette and correspondence and how students can prepare themselves as artists to work with curators are all taught. Material related to the global south, SWANA, Asia and emerging or underrepresented discourses will be included.

Graduate Internship Ryan Smith SMFA-0270 2-5 SHU Internships for Studio Credit are an important part of SMFA at Tufts University’s studio arts curriculum and a great complement to your studio training. Whether your internship is with a commercial design firm, an education program, a community garden, a new media facility, a non-profit arts organization, a gallery venue, or a professional artist's studio, you will acquire valuable skills and develop new insights into your chosen creative path. Tufts Career Center staff offer extensive support and guidance along the way. Interns also participate in a two-part evaluation process, documenting rigorous self-reflection that advances professional goals and maximizes learning outcomes. This credit-bearing option is available to students in the Studio Diploma, BFA, and Dual Degree BFA + BA/BS programs. Students enrolled in the Post-Baccalaureate or MFA program are eligible with permission from the Program Directors. For detailed descriptions of internship opportunities and one-on-one advising, come visit us in the Tufts

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Career Center. All students seeking internships are required to receive written approval from the Internship Director at registration. Prerequisite: one year of study and no fewer than two remaining review boards prior to graduation. Transfer students must consult with Academic Affairs to determine eligibility.

POST-BACCALAUREATE COURSES Post-Baccalaureate Seminar Karmimadeebora McMillan SMFA-0191 2 SHU, Friday 10-12pm The Seminar is a mandatory core component of the curriculum for post-baccalaureate students, who take it both fall and spring semesters. Content is determined by the needs of the class and changes from fall to spring. The seminar includes professional presentations, student presentations, directed group discussions and writing projects, critiques of work, and visits to museums, galleries, collections, and other sites. We discuss the work and ideas of class members in the context of broad issues such as the role and purpose of art making, the practice of art as a career, and the perspectives currently under discussion in art criticism and theory. Emphasis is on group collaboration and peer support for individual artistic development. To keep discussion groups small, faculty lead separate seminar sections. (These groups occasionally hold meetings together.) Be ready to talk at the first class about your ideas and needs in your artwork, school, and prospective career, so that we can plan the semester's content.

Post-Baccalaureate Consultations Karmimadeebora McMillan SMFA-0191 2 SHU, Friday 1-3pm Individual critique sessions promote and foster abundant work and rapid progress by helping you deepen an understanding of your art, creative process, and work methods through focused critical feedback at regular intervals. Students meet individually with the instructor several times during the semester for critiques, to present works in progress, and to discuss emerging issues of individual interest. These

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consultations support and complement the work in the Post-Baccalaureate Seminar. Post-baccalaureate students are expected to actively seek individual critiques and consultation from their assigned faculty advisors and from faculty members teaching studio courses in which they are working.

UNDERGRADUATE COURSES Guided Studies First Year Program Tanya Crane SMFA-0001 2 SHU Section 1: Monday 9-11am Section 2: Friday 2-4pm Introductory

The First Year Program is designed to orient incoming BFA and Combined Degree students to the singular opportunities offered at SMFA at Tufts. This course will combine analytical thinking and discussion as well as prompts for students to create work. Students will work in break-out groups that respond to a variety of issues within contemporary art. Each week will feature a visiting artist who brings a unique perspective into the incredibly diverse world of art and making. Students will also have opportunities to visit area museums, galleries and artists’ studios virtually and make work in response to these experiences. If circumstances allow there will be opportunities for on campus work in studios utilizing all necessary health protocols. Students will be introduced to the academic support and resource opportunities through the Center for the Enhancement of Learning and Teaching (CELT), the Student Accessibility & Academic Resource (StAAR) Center, our Research and Instruction Librarian, and the exhibitions and gallery staff. We will also have introductions to the SMFA labs and their individual health and safety protocols. There will be approximately 1 to 1.5 hours of synchronous and asynchronous content weekly. #activism #decolonization #healthandsustainability #identity #installation #materialprocess #narrative #performative #publicart #queertheory #racialjustice #socialpractice #technology

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Undergraduate Internship Ryan Smith SMFA-0070 2-5 SHU Internships for Studio Credit are an important part of SMFA at Tufts University’s studio arts curriculum and a great complement to your studio training. Whether your internship is with a commercial design firm, an education program, a community garden, a new media facility, a non-profit arts organization, a gallery venue, or a professional artist's studio, you will acquire valuable skills and develop new insights into your chosen creative path. Tufts Career Center staff offer extensive support and guidance along the way. Interns also participate in a two-part evaluation process, documenting rigorous self-reflection that advances professional goals and maximizes learning outcomes. This credit-bearing option is available to students in the Studio Diploma, BFA, and Dual Degree BFA + BA/BS programs. Students enrolled in the Post-Baccalaureate or MFA program are eligible with permission from the Program Directors. For detailed descriptions of internship opportunities and one-on-one advising, come visit us in the Tufts Career Center. All students seeking internships are required to receive written approval from the Internship Director at registration. Prerequisite: one year of study and no fewer than two remaining review boards prior to graduation. Transfer students must consult with Academic Affairs to determine eligibility.

Senior Thesis Kendall Reiss, Anthony Romero, Emily McDonald SMFA-0093 4 SHU, Friday 9–1pm Advanced Senior Thesis provides a platform for the development of an ongoing independent art practice. Program spans two continuous semesters, constructing a year-long trajectory of research, writing, art-making and career-building centered around critiques with program faculty, visiting artists, and arts professionals.

Students are challenged to explore their own individual interests and practices, within the context of a group of peers and faculty, towards the goal of developing a comprehensive thesis project. Independent studio work required throughout the year; students should expect to dedicate at least 6-12 additional hours per week outside of synchronous class meetings to work on the development of their studio practice.

During the Fall semester, students concentrate on formal concept-based research and writing exercises, to support the development of an independent body of work. As a class, regularly engage in discourse and the public exchange of ideas in the form of individual critiques and discussions; small group interactions with peers in reading circles, roundtables, and working groups; whole program group meetings, lectures, and artist talks; and interactions with thinkers and specialists from our wider university and global communities. Students are challenged to explore different modes and methodologies of research and 8

art-making, and make connections between art and other intellectual and creative practices. Emphasis in the Spring semester shifts to thesis production and development of various professional practices, including writing about and formally presenting your work. Spring semester culminates in the final Senior Thesis Exhibition, towards which students are required to work in planning, development, marketing, and all aspects of preparing and presenting their work to a public audience and for inclusion in the Tufts Digital Library.

The arc of the year can be summarized in these eight themes: ·Creating Community ·Building a Practice ·Research as a Form of Critical Inquiry ·Making Process Visible ·Artistic Output as Scholarship ·Art in Conversation with Other Practices ·Public Presentation ·Thesis Exhibition & Catalog

Creative and Professional Practices Ryan Smith SMFA-0195 2 SHU, Tuesday 2-4pm Advanced All disciplines Students will develop strategies and skills in finding professional opportunities as artists.

Topics will include resume/cv/cover letter/artist statement development, outreach and promotion of work, lectures from professionals in the art world working as artists or in museums, galleries, non-profits, arts education, production, advertising/design agencies and other areas in the creative sector. Students will complete the course with firm grasp on opportunity search strategies and improved professional networking ability. Open to SMFA Juniors, Seniors, and Graduate students. Classes will be conducted synchronously online.

Digital Media The Art of the Fake Kurt Ralske DIG-0102 9

4 SHU, Tuesday 2-6pm All levels This hybrid studio / seminar course explores “the fake” as an artistic strategy and a cultural phenomenon.

Students learn 3D software (Cinema 4D, Photoshop) to create images and videos that appear convincingly photo-realistic, but have no correspondence to reality. We survey artists whose work involves forgery, false identity, sham narrative, artificial drama, pranks, white lies. The relationship between images and beliefs is explored through seminar discussion of philosophical texts (Latour, Lacan, Flusser, Sontag). We consider “the fake” in both its negative dimensions (political manipulation) and positive (the generative power of imagination). Open to all levels. #abstraction #criticaltheory #futurism #technology #theimaginary

Virtual Reality Cristobal Cea DIG-0150 4 SHU, Monday 2-6pm Intermediate This hybrid studio/seminar course focuses on the practice and theory of Virtual Reality as a contemporary fine art form. Students will design VR artworks using Unity3D and exhibit projects with various export strategies: as interactive virtual environments, 360-degree videos, 2D videos, and still images. Students will leave the course comfortable with the end to end process of virtual reality that includes conceptual development, virtual-environment design, animation, head-mounted display (HMD) setups, and installation considerations. A key function of the course is to differentiate and extend what makes a virtual reality experience a work of art as opposed to a game, a training module, or a research event. This course will also provide a set of texts, discussions, and lectures about VR's place within the philosophical, aesthetic, and ethical dimensions of mimetic representation. #criticaltheory #futurism #technology #theimaginary #timebased #utopia

Special Topics: America Imaginaria Cristobal Cea DIG-0193 4 SHU, Wednesday 9-1pm Intermediate Through in-class exercises on character design using the open source software Blender and its various animation and sculpting tools, we will explore the theme of monstrosity with a special emphasis on the 10

“American Bestiary”: an assemblage of fictional beings described by European conquistadores, such as Sir Walter Raleigh, during their first encounters with a culture and land they could only describe in terms of their own fears and prejudices. During the course we will explore the abandoned narratives of these so-called monsters, and recreate them using 3D Animation Software. At the end of the course we will use motion capture to create a series of short films that reclaim the notion of monstrosity as a tool for understanding ourselves. No previous experience required.

Drawing Intro to Drawing Studio John Ros DRW-0013 2 SHU Section 1: Thursday 2-4pm Section 2: Thursday 5-7pm Introductory Drawing Studio is an introductory drawing course focusing on the development of skills and techniques.

Because of the current crises our focus will be on materials, methods, exercises and projects that are easily accessible to students. We will have an outward focus on our communities, meaning we will pursue projects that consider Drawing’s role in our current climate and how it can be used to communicate, help and add to contemporary discourse even in times when we do not have the same freedom of movement we might be accustomed to. For example, students will build correspondence-based drawings and zines to send to others. We will build these projects in tandem with our exploration of the fundamental approaches to observational drawing such as line, mark making, perspective, space, tonal value, composition, point of view, proportion, and measurement. Strong composition, clear communication and exciting design will be emphasized through a combination of focused exercises, projects, demonstrations, critiques, and individual instruction. Drawing Studio is ideal for students new to drawing and for those interested in improving their artistic practice. Introductory course open to all levels.

Intro to Drawing: Intensive Mara Metcalf, Daphne Arthur DRW-0018 4 SHU Section 1: Monday 9-1pm (Mara Metcalf)

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Section 2: Wednesday 2-6pm (Daphne Arthur) Introductory Intro to Drawing Intensive is a comprehensive introduction to drawing techniques, strategies and materials. This is a gateway course for all students interested in interpreting and responding to the world through drawing. During the semester, students will build strong technical and perceptual skills through direct observation and rigorous practice. Drawing is also a way of thinking with the body and as a conceptual practice it overlaps many areas of art activity. Through projects and prompts, students will evolve an understanding of the unique opportunities for transformation and expression that drawing provides. Coursework will include demonstrations, presentations, exercises and assignments. Introductory course open to all levels. #materialprocess #narrative #portraiture #theimaginary

Intro To Figure Drawing Mara Metcalf DRW-0051 4 SHU, Wednesday 9-1pm Open to all levels Provides students an introduction to the essentials for drawing the human form. Proportion, scale, shading, composition, and mark making covered, as well as historical and contemporary approaches.

Coursework includes demonstrations, presentations, exercises and assignments. Introductory course open to all levels. Non-SMFA students will receive a letter grade. #autobiography #materialprocess #portraiture #thebody #theimaginary

Intermediate Drawing - Strategies of Representation Nan Freeman DRW-0122 4 SHU, Thursday 9-1pm Intermediate-Advanced This intermediate course is designed for students with some experience in life drawing or drawing from observation, who want to further develop their drawing skills. Through class presentations, exercises and assignments, readings, discussions, and critiques, students will gain a broad understanding of how to improve their representational drawing skills. In addition students will also understand how artists have used representational drawing to express their ideas. Students will be required to purchase materials.

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Advanced Drawing Dialogues Charles Goss DRW-0132 4 SHU, Friday 9-1pm Advanced This course is for advanced students developing independent projects in a broad understanding of contemporary drawing. The relationships with content, strategies, contexts and concept will be explored and shared. Our coursework will include group and individual critique, regular reading assignments with scheduled mini-seminars, lectures on pertinent artists, an all-term assignment for each student and continued progress on self-designed independent projects through the term. We will have a mid-term and final critique. Advanced level course. At least one previous intermediate drawing course recommended.

Special Topics: How the Brain Perceives Art Dan Jay DRW-191 2 SHU, Tuesday 6-8pm Open to all levels Sight is our best-understood sense and we have a precise understanding of how the retina and visual cortex in the brain convert the projected image of the world into our perception of the world. Artists throughout history have empirically tapped into these mechanisms to increase the impact of their paintings and drawings to achieve a resonance with viewers that enhanced the appreciation of their work.

This new course integrates our understanding of the visual system with the artistic devices employed throughout Art History. A novel aspect of this course will be a studio component that makes art utilizing neural principles discussed in the course. This is an extreme cross-disciplinary course. It is hoped that students who are art majors would develop a working knowledge of how to enhance their art by tapping into how the visual system works while science majors would gain some studio art skills and an appreciation of art using scientific principles to which they are accustomed.

Drawing for Sculpture John Ros SMFA-0121 2 SHU, Thursday 9-11am

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All levels DRW, SCP Examines the basic elements that make up our three-dimensional world through investigations in space through drawing. Using simple materials expand awareness and observation of three-dimensional space and its relationships to the page. Traditional ideas of drawing are paired with conceptual research, developing practice and building connections across mediums. Practical and conceptual prompts will expand research and process. Explore two-dimensional drawings for three-dimensional thinking. Learn to translate ideas into fully-realized experiences. Open to all levels. #abstraction #documentary #identity #installation #materialprocess

Advanced Drawing and Text Anthony Romero SMFA-0122 4 SHU, Thursday, 9-1pm Advanced/Intermediate DRW, PER Merges performance, writing and drawing practices and explores the ways in which mark making and drawing can be employed as a textual practice. Throughout the course students will be asked to encounter and research works of art that have explored writing as a means of marking time, space, history, and self.

Students can expect art historical readings to be paired with classroom discussion and studio practice.

Draw & Print: Walls to Halls Charles Goss, Rhoda Rosenberg SMFA-0103 4 SHU, Wednesday 9-1pm All levels DRW/PRT

Drawing and Print: From the Walls to The Halls is all about experimentation and transformation; opening new ways to think about what a drawing is and learning how drawing and printmaking share an amazing conversation. This team-taught course will introduce students to a new and exciting way of combining drawing with printmaking and beyond. As an on-line course, students will be given a series of provocative drawing projects. These projects range from simple line, shape and color studies to personal/public, identity and conceptual ideas. We will encourage the students to use any kinds of mark making tools they can find, both

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traditional and non-traditional tools are encouraged. As these drawings evolve, we will investigate a number of techniques in printmaking to transform them into various forms of print: monoprints, relief prints, collagraphs, digital prints and image transfer methods. We will conduct lectures, demonstrations and discussions on-line.

Our students will be able to draw, paint, collage and print where they live. We will have faculty presentations, scheduled group critiques and offer individual consultations. Open to all levels and especially for students who want to have fun.

Art as Process Kata Hall DRWM-003 2 SHU, Friday 9:30-12:30pm Open to all levels For students who want to transform and develop their artistic practice and visual awareness. Intensive studio class that focuses on experimentation and the creative process rather than a pre-imagined or calculated end product. Each week a different project is introduced, worked on and completed. Explore painting, drawing, sculpture, installation and other disciplines and media with an eye toward investigating unique ways of making art. Abstraction, Realism and Conceptual approaches addressed and explored through a variety of hands-on projects. Individual and collaborative exercises challenge students to broaden their awareness of personal and assimilated beliefs, conceptual ideas and autobiographical content through the use of metaphor, symbol and unconventional media. Class discussions, readings, presentations and field trips (when possible) supplement studio practice and look at art making in context of historical, cultural and contemporary issues. Interactive, participatory nature of Art as Process enables students coming from diverse areas of study to expand and enrich their perspectives of the broader community. Particularly useful for those interested in exploring and developing their own creative abilities, assembling a portfolio or exploring the idea of a professional art career.

Open to all, from absolute beginners to advanced artists. Excludes BFA, MFA, and SMFA Post Bac students.

Drawing: Introduction Mela Lyman DRWM-0024 2 SHU, Friday, 1:30-4:30pm Open to all levels Drawing is a basic skill through which visual ideas and feelings take form. This introductory course explores drawing as a means of learning to see. Through the basic visual elements that define shape we will explore the tools that give expression to artists' feelings and ideas, representations, patterns and abstractions, sketches,

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plans and other uses, (e.g. earthworks, sculpture, design projects, etc.) Traditional methods of observational drawing, including systems of perspective, will be addressed through the use of live models, still life, design problems. A variety of media will be explored: charcoal, erasers, sumi ink, and paper. Current methods and approaches to drawing will be viewed and shared in the class work and digitally. Ongoing references to recent and historical drawing are part of our curriculum; from cave drawing to animation. We will have field trips drawing outside and visiting museums. Attendance is essential for developing ideas and honing skills; group discussions and critiques an ongoing inspiration. This course is open to beginners and experienced artists. This course is open to all LA + EN undergraduate students. Excludes BFA, MFA, and SMFA Post Bac students.

Drawing: Foundation Justin Life, Greg Mencoff, Paola Page DRWM-0026 4 SHU Section 1: Monday and Wednesday, 1:30-4:30pm (Justin Life) Section 2: Monday and Wednesday 7-10pm (Greg Mencoff) Section 3: Tuesday and Thursday, 7-10pm (Paola Page) Introductory Drawing is an ancient and universal practice as well as an aspect of visual thinking. Working from direct and indirect observations, students will develop the confidence to evaluate shape, line quality, value, composition, and how the critical choice of materials will impact an idea. Drawing Foundations introduces drawing as a practice of observation. We approach the illusion of space and form through formal analysis and subjective interpretation. Foundations examines the multiple functions of drawing across time and culture as well as emphasizing the breadth of the drawing experience and its application across disciplines. The course provides a format for a focused exploration of drawing practice as an instrument of communication, a source of ideas and an opportunity to risk and move beyond one's current abilities and notions. This course is open to all LA + EN undergraduate students. Excludes BFA, MFA, and SMFA Post Bac students.

#criticaltheory #materialprocess #narrative

Drawing: Mixed Media Patrick D. Carter DRWM- 0027 4 SHU, Tuesday and Thursday, 1:30-4:30pm Open to all levels Builds on the historical traditions of drawing while introducing a variety of artists and approaches to the processes of drawing. Tailored to the individual’s sensibilities and natural inclinations, students experiment with pencil, pen, charcoal, color pastels, and water-based paints (gouache, watercolor or acrylics). Enables students to produce a body of work with a personal vision. Includes virtual and/or in-person visits to Boston (MFA) and Cambridge art museums. Level: Designed for students at all levels and a desire to experiment with 16

the language of marks and stains while exploring a variety of dry and wet materials. Open to all LA + EN undergraduate students. Excludes BFA, MFA, and SMFA Post Bac students.

Figure Drawing Mela Lyman DRWM-0035 2 SHU, Thursday 9:30-12:30pm Open to all levels Builds on the historical traditions of drawing while introducing a variety of artists and approaches to the processes of drawing. Tailored to the individual’s sensibilities and natural inclinations, students experiment with pencil, pen, charcoal, color pastels, and water-based paints (gouache, watercolor or acrylics). Enables students to produce a body of work with a personal vision. Includes virtual and/or in-person visits to Boston (MFA) and Cambridge art museums. Level: Designed for students at all levels and a desire to experiment with the language of marks and stains while exploring a variety of dry and wet materials. Open to all LA + EN undergraduate students. Excludes BFA, MFA, and SMFA Post Bac students.

Perspective Drawing Mela Lyman DRWM-0063 2 SHU, Tuesday 9:30-12:30pm Open to all levels This comprehensive course in basic perspective drawing is open to all levels and is devoted to drawing from observation. Still lives in the studio and some field trips to outside locations will provide our subject matter and sources of inspiration. Through various methods for creating the illusion of realism we will utilize the elements of line, shape, texture, value, composition and the techniques of western perspective design to convincingly portray 3D volume and space on a 2D surface. Towards the end of the course these tools will be used to design and create your own ideas and structures; drawings, houses, monuments, memorials, autos, objects and sculptures, etc. of your choosing. Our exploration and work will provide insight into what has given this discipline its time honored visual appeal and help us to create new and unique perspective drawings and designs. Materials include charcoal, graphite, erasers, rulers, sumi ink and paper. This course is open to all LA + EN undergraduate students. Excludes BFA, MFA, and SMFA Post Bac students.

Art Education 17

Art Education & Human Development Kay Furst EDS-0121 3 SHU, Wednesday, 5:30-8:30pm Open to all levels This course considers human development from early childhood through adolescence through the lens of the artist-teacher. Readings, seminar activities and field visits to PreK-12 classrooms will focus on the role of art in human development and learning guided by theories of multicultural education. Special attention is paid to how art teachers engage youth in studying, critiquing and making visual culture while considering the stages of human development and student’s diverse identities. Field experiences include brief observations of a range of public school art classrooms and other community art making settings. Introductions to art curriculum development, seminar reflections and classroom discourse are cultivated to respond to student observations about art and human development of learners in multicultural settings.

English Expository Writing Dan Graham, Stephen Muscolino ENGS-0001 4 SHU Section 1: Tuesday & Thursday 6-7:15pm (Dan Graham) Section 2: Monday & Wednesday 6-7:15pm (Stephen Muscolino) Section 3: Monday & Wednesday 7:30-8:45pm (Stephen Muscolino) Introductory Explores the principles of effective written communication and provides intensive practice in writing various types of expository prose, especially analysis and persuasion. Examines essays by contemporary and earlier authors as instances of the range and versatility of standard written English.

Graphic Arts

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Graphic Arts Toolbox: Design, Production & Alternative Strategies for Artists Chantal Zakari, Triton Mobley GRA-0114 4 SHU Thursday, 11-1pm, 2-4pm Open to all levels Since conceptual art in the 70s artists have employed new strategies to expand the border of the gallery space. This course is for the artist who is interested in creating work exploring these alternative strategies.

It will introduce you to the basic tools and skills used in the graphic arts. Students will be exposed to various techniques from offset and RISO printing to making work for the web. Through project assignments you will also learn to use some of the essential software on the Mac platform along with more traditional processes. The class will encourage you to think about text and image relationships in linear and non-linear narratives and consider your work in a public setting. #activism #decolonization #documentary #illustration #materialprocess #multiples #performative #publicart #socialpractice #textandimage

Creative Activism: Emerging Technologies TBD GRA-0112 2 SHU, Thursday, 6-8pm Open to all levels

In this class we will explore the power of public activism through design interventions. For decades designers have been trained to become artists who serve corporate ambitions through advertisement and sales. This course asks students to consider the responsibilities of designers to subvert, amplify, resist, intervene, disobey and protest in favor of principles that matter on a personal level. Students will examine and develop criteria for successful acts of social resistance through a variety of projects on the web and in augmented reality. Readings and class lectures will cover works from Steve Lambert’s The Center for Artistic Activism, artist Nancy Baker Cahill, and poet and computer scientist Joy Buolamwini. Class demos will cover a variety of free and open-source software. No prior technical experience necessary.

#activism #decolonization #futurism #socialpractice #technology #textandimage

Self-publishing an Artist’s Book 19

Chantal Zakari GRA-0184 4 SHU, Tuesday 11-1pm, 2-4pm Open to all levels Infiltrates the publishing industry with a mass-produced artist’s book in the tradition of activist artists.

Discusses various strategies on how to use found text, personal text, rewriting old text, editing, photographing and illustrating. Structured assignments help students learn technical skills in inDesign and Photoshop, image/text relationship on a page, typography, sequencing of the pages, and the basics of self-publishing. We will publish a short zine on the RISOgraph, and a longer publication through print-on-demand technology. Photographers, painters and drawers who are interested in adding text and experiment with a narrative form in their work are also encouraged to join the class. Basic computer skills are required.

Artists’ Books Today Asuka Ohsawa GRA-0183 4 SHU, Friday 11-1pm, 2-4pm Open to all levels What is an artist book? What are the purposes and motivations behind the artistic practice of making books in the 21st century? This mixed media studio class explores the handmade artist book in its many configurations: as visual poetry, as narrative, as document, as conceptual space, as memoir and as museum. Binding and image-making demonstrations, workshops and assigned problems expand students’ awareness of the artist book as a contemporary vehicle for content and hands-on innovation. Inspired by examples from the history of the book (the ancient codex, medieval illuminated manuscripts, chap books, altered books) and drawing upon global traditions (Asian, Middle Eastern, Western), explore the history and culture of artist books. Examine work of contemporary practitioners; see that the artist book offers a unique context for understanding and responding to the complex realities that surround and inform our daily experiences. Encourages and nurtures each student’s response as they develop their own perspective in the form of artist books. Hands-on technical instruction, complimented by presentations, visiting artists, readings and critiques. Open to all levels.

#materialprocess #multiples #textandimage

Special Topics: Coded Type in Designed Space, Pixelated Objects + Motion

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Triton Mobley GRA-0191-01 4 SHU, Monday, 2-6pm From the Dotonbori River to Time Square—Beijing to Berlin we will examine the productions of type + design and the near infinite abilities of the medium to render fluid motion through outputs of stasis. As we creatively meander over the semester students will document, animate, and craft a collection of type characters—filtering in influences of cinema, technology, biomimicry, and the architectural [a]symmetry of daily life.

Special Topics: Design for Social Change TBD GRA-0191-02 4 SHU, Wednesday, 11-1pm, 2-4pm Explore design as a catalyst for social change. Focus on marrying design to activism, and examine established methodologies for developing and fostering a successful call to action. Create and disseminate engaging and beautiful messages and materials in service of promoting an idea or product. Students will work individually or in groups to design and implement a campaign for a concept of their choosing; final deliverable forms will vary but may include posters, websites, or public art installations. Through lectures, in-class activities, and critiques, students will learn about the role design and designers play in social activism, as well as strategies for research, ideation, prototyping, and testing design solutions. Class demos will cover Photoshop and Illustrator.

Special Topics: Narrative in Sequential Art Thyra Heder GRA-0191-03 4 SHU, Monday, 2-6pm This course will explore different structures of sequential art, and examine how to create a successful narrative. Spanning comic strip art, graphic novels, children's picture books and storyboarding for film, weekly assignments will challenge students to create engaging stories in a variety of formats and mediums, with an emphasis on the personal. By examining works across genres from artists like Lynda Barry, Jillian Tamaki and Walter Scott, to contemporary picture books by Christian Robinson, Carsen Ellis and Catia Chien, students will analyze and exercise ways to pull emotions from a set of images.

In-class workshops will develop drawing skills, as well as a facility with problem solving, editing and revising. Computer tools that apply specifically to sequential art such as page layout, panel design, will be covered, but much of the work will begin with the most analog of materials: pencil and paper, scissors and tape.

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Special Topics: Environmental Graphic Design: Image and Content in the Built Environment Jennifer Munson GRA-0191-04 4 SHU, Friday, 11-1pm, 2-4pm Environmental Graphic Design is a fundamental creative practice of placemaking. Often collaborative, this design field focuses on large-scale graphic programs that include murals on buildings, billboards in urban and rural settings, as well as exhibition environments that place art objects in context to construct immersive experiences in relation to the built environment. Students will enhance their technical skills using Illustrator and Photoshop to create scaled drawings and photomontages to apply bold graphic ideas and carefully considered content to connect with the particulars of place.

Socially Engaged Art Neda Moridpour MDIA-0181 4 SHU, Wednesday 9-1pm Open to all levels For intermediate and advanced artists who want to use their imagination in the service of social justice.

Explores the prolific and exciting overlap between socially engaged art and cultural practices generated by recent social movements around the world. Project-based responses to movements of student’s choosing.

Provide technical support, assist with research, review artist projects and address recent strategies and examine the shift of socially engaged artists from “studio to situation” or “participant.” Open to students of all disciplines, with a basic knowledge of contemporary art history, Adobe Photoshop, InDesign and Premiere. #activism #autobiography #criticaltheory #decolonization #economicjustice #environmentaljustice #feminism #gendernonbinary #humor #identity #illustration #installation #multiples #narrative #performative #queertheory #racialjustice #socialpractice #textandimage #thebody #theimaginary #utopia

Media Culture Now Neda Moridpour MDIA-0182 4 SHU, Monday 9-1pm 22

Open to all levels MDIA, GRA An understanding of how mass media functions is necessary in order to enact meaningful social change. The media representation of a drowned Syrian boy and refugees; the Black Lives Matter activists; The US military recruiting from gaming industries for Iraq and Gulf Wars; The previous US presidential elections; reality TV, etc. These images shape both our public policy and private lives. Additionally, between TV, radio, newspapers, magazines, internet, mobile phones, billboards and LED displays, we see between 250 to 3000 ads per day.

These are just a few stories that indicate how text has expanded from the merely literary to all forms of cultural production, and how mass media has come to be a powerful means of expressing culture, which ‘frames’ our everyday life. Through readings, presentations, group discussions and studio work we will look critically at the media culture. We will examine texts from Shanti Kumar, Erving Goffman, Jackson Katz, John Berger, Naomi Klein, Jean Kilbourne, Guy Debord, Adbusters, The Onion, fashion magazines, and activist art. These readings will create the structure for studio work as well as challenging commercial methods by producing work about our vernacular culture. This course is designed as an introduction to digital art-making techniques and skills.

Non-SMFA students and MAT Art Education students will receive a letter grade.

#activism #criticaltheory #decolonization #feminism #gendernonbinary #humor #illustration #multiples #queertheory #racialjustice #textandimage #theimaginary

Flora and Fauna Ria Brodell PAI-0110 4 SHU, Wednesday 2-6pm Intermediate PAI, GRA An exploration of flora and fauna as broad themes in contemporary and historical art. Potential cross over into other subjects such as climate change, biology, gender, environmental conservation etc. Topics such as naturalist field notes will include the history and context of different taxonomies resulting in opportunities for individual research and pursuits. A broad range of media and methods will be discussed and used. Regular critiques and discussions will help to support student’s projects. Designed for Intermediate level students. One previous introductory painting or drawing course recommended. #ecologies #illustration #narrative #theimaginary #utopia

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Media Arts Intro to Video Art Luis Arnias MDIA-0001 4 SHU Section 1: Tuesday 2-6pm Section 2: Thursday 9-1pm Introductory A beginning video course for undergraduates. A series of intensive hands-on workshops in camera composition, lighting, sound, and editing provide the skills to become a technically proficient and thinking video maker. Current trends in video and digital art practices, exploring a range of possibilities for video art production; single-channel, installation, performance, and Internet projects, are surveyed and analyzed through screenings, readings, and discussions. With instruction in digital film/video cameras, microphones, lighting kits, nonlinear editing systems, computers for multi-channel installation, video projectors and screens for image display. Introductory level. #documentary #humor #identity #narrative #performative #technology #thebody #timebased

Introduction to Sound Andrew Hlynsky MDIA-0060 4 SHU, Wednesday 2-6pm Introductory This beginning course explores the medium of sound and the ways in which visual artists have incorporated it into their practice. While covering separate “sound art” categories and then creating 3 assignments from them, you will explore basic audio principles, sound hardware, digital recording and mixing in ProTools and Live environments. Class is divided between lecture/discussion/presentation, and technical instruction and lab time. Through the course of the class, you will gain a solid foundation in the understanding of sound and a contemporary context for the field of sonic arts while developing a strong tool set for working within the medium. For individuals involved in multimedia work who desire a basic knowledge of working with audio. No experience is necessary. #abstraction #installation #narrative #performative #technology #timebased #utopia

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Video Art & Narrative Jane Gillooly MDIA-0103 4 SHU, Wednesday 2-6pm Intermediate

Work in single and multi-channel video, sound, and installation to learn strategies for narrative, including documentary, autobiography, storytelling, archival research, purely visual narrative, and alternative structures. Organize multiple narrative sources, image, text, archive, interview, spoken word, song, vocalized sound design. Emphasize inventive ways to record audio/visual material, decisive editing of image and sound, and analysis of recent trends in narrative cinema and video art. Intermediate production course. #documentary #feminism #identity #narrative #racialjustice #socialpractice #timebased

Video Installation Georgie Friedman MDIA-0104 4 SHU, Thursday 2-6pm All levels Video is one of the most important communication tools of our time. In this studio and seminar course, students will learn a range of skills to produce video content based on their individual interests, concerns and passions. From research- based projects, to activist works, to experiments in form, we will learn to design ways to display artworks in physical space and on-line that communicate your ideas and aesthetics with power and strength. Students will be instructed in camera composition, and through this develop their own individual camera style and language. We will use mirrorless cameras and camera mounts, or students can choose to use their own cameras. Tutorials will include video editing and compositing using Adobe Premiere and Adobe After Effects. Students will participate in lighting design workshops to learn both conventional and experimental lighting techniques. Students will learn to produce sound scores for their projects in workshops on sound recording, editing and mixing. Through engaging with space, architecture and landscape, we will design immersive video experiences using video mapping software.

Students will learn to produce both single channel and multi-channel projects. Along with video, students are encouraged to incorporate diverse media in their installations such as painting, sculpture, found objects, texts, performance, digital technologies, the internet, music and sound. The seminar will trace an exciting array of international video artists from the emergence of the form in the 1960s, while concentrating on contemporary video installation. Visiting artists will present their projects and critique students’ work. During each week students will participate in three hours of synchronous and

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asynchronous learning including one hour of technical instruction through tutorials and/or workshops; one hour dedicated to the discussion of readings and screenings, and/or artists working in the field and/or artist talks; and one hour to present and dialogue about student’s individual artworks-in-progress. Open to all levels. #activism #criticaltheory #decolonization #ecologies #environmentaljustice #feminism #identity #installation #materialprocess #multiples #performative #publicart #queertheory #racialjustice #socialpractice #technology #thebody #theimaginary #timebased

Visual Programming for Visual Thinkers Andrew Hlynsky MDIA-0109 4 SHU, Thursday 2-6pm All levels Visual Programming involves developing software using visual modules instead of code, similar to plugging guitar pedals into one another. Develop unique software tools for creating real time interactive 3D scenes, generative 2D images, and audio reactive systems. Demystify concepts like instantiation, matrix math, lookup tables, and parametric design. Apply learned skills to a variety of disciplines including image making, installation, lighting, interactive video, graphic design, projection mapping, VJing, and data visualization. Some experience with Photoshop, Premier, After Effects or equivalent image manipulation software is expected. Open to all levels. #abstraction #futurism #installation #technology #textandimage #timebased

Stop Motion Animation Maya Erdelyi-Perez MDIA-0140 4 SHU, Tuesday 9-1pm Open to all levels This course will focus on puppet and object animation, including both old- and new-world styles. Through film screenings and course exercises combined with in-class workshops, you will learn to design and build puppets for purpose and function as well as to animate them. We also will examine how to build sets and light them to scale, and explore the techniques of character directing. A required final project will be the focus of the last weeks of the semester. The instructor provides some supplies. A materials list will be given out and discussed during the first day of class. Animation skills are recommended but not required.

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Animation 1 Maya Erdelyi-Perez, Joel Frenzer MDIA-0141 4 SHU Monday 2-6pm (Maya Erdelyi-Perez) Wednesday 2-6pm (Joel Frenzer) Introductory Through in-class exercises, demos, screenings, and visiting artists, you will learn various techniques of animating, and how to record and mix a soundtrack for animation. The three techniques we cover are Drawn, Cut-Out, and Stop-Motion Animation. This class is also designed to give you a deeper understanding of Animation as an art form of personal expression, and the various ways Animation is both viewed and used throughout the world; traditional narratives to poetic/abstract non-narratives to interaction to installation. Most assignments will be worked on in class using both film and computer-video equipment. No previous experience required, just an open mind.

Animation 2 Gina Kamentsky MDIA-0142 4 SHU, Thursday 9-1pm Intermediate Animation 2 offers a more in-depth study into animation techniques, principles of animation, ways of generating ideas, and directing for animation. These skills are strengthened through in-class exercises, screenings, visiting artists, and discussions. In addition, each student will design, animate, and provide a soundtrack for their own independent project. Most of this work will be done outside of class, with a weekly one-on-one meeting with the instructor and teaching assistant. Students in this class are also eligible to attend the Ottawa International Animation Festival in the Fall Semester, and a field trip to a local studio in the Spring Semester. Prerequisite: Animation 1 FLM 0036. Non-SMFA students and MAT Art Education students will receive a letter grade. #autobiography #documentary #humor #identity #illustration #materialprocess #multiples #narrative #performative #portraiture #technology #textandimage #thebody #theimaginary #timebased

Character Animation Ng’endo Mukii MDIA-0145 4 SHU, Thursday 2-6pm

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Intermediate Animation course focusing on character design, development and the key techniques and choices artists make to bring a character to life. Visualizing a character from narrative prompt to illustrated reality in both hand drawn and digital environments. Beginning with the foundations of simple movements, gestures and expressions, and building to complex scenes with characters engaging with the space around them. Students progress through a series of exercises and assignments in weight, timing, believability, expression of personality and emotion, culminating in one short final project by the end of the semester.

Basic animation knowledge expected. For intermediate level students.

Sound & Moving Image Kurt Ralske MDIA-0163 2 SHU, Monday 6-9pm Intermediate-advanced When combined, sound and image influence each other in subtle and complex ways. This course provides students with the practical and conceptual skills to creatively use sound (voice, sound effects, sound design, music) with film and video. We will study examples of sound/image pairings taken from the canon of cinema, and analyze how they were constructed technically and how they function aesthetically.

In addition to the conventional strategies used in narrative films of the past and present, special focus will be given to the radical experiments of Jean-Luc Godard, David Lynch, Orson Welles, Toru Takemitsu, Christian Marclay, Ryan Trecartin, Candice Breitz, and others. Practical audio techniques covered will include: digital audio recording devices, microphone selection and placement, audio editing software, dynamics control, equalization, noise reduction, workflow, mixing, and mastering. Small and large assignments will give students the opportunity to explore the strategies studied in the examples and to practice practical skills. The techniques and concepts covered in the class will be drawn from cinema, but are equally applicable to projects executed as video, installation, and image-for-sound. The goal of the course is for students to develop an expanded concept of the possibilities for sound and image, a more personal vision of how to utilize sound and image in their work, and the technical skills to achieve their vision. #documentary #narrative #performative #technology #timebased

A History of Sonic Art Nate Harrison MDIA-0165 2 SHU, Tuesday, 11-1pm Open to all levels

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A History of Sonic Art examines the historical, theoretical and aesthetic bases of sound, noise and music in modernity. The course will take as its point of departure the development of mechanical media following the stages of industrialization in the early twentieth century. Roughly chronological, the course will trace the early European Avant-Garde through to post-war experimentation, and then onto postmodern sampling, laptop culture, and the acceptance and expansion of “sound art” within the institution of art. While following a timeline, topics, issues and theories presented will nonetheless often be transhistorical and interdisciplinary, addressing concerns that have persisted within the production of culture since the fundamental change to it through the development of recording technologies. Parts music history, sociology and aesthetic theory, History of Sonic Art will provide students the historical context and conceptual framework from which to articulate their own practices. Regardless of whether or not a student works with sound, it will be a very thought provoking class. Non-SMFA students and MAT Art Education students will receive a letter grade.

Socially Engaged Art Neda Moridpour MDIA-0181 4 SHU, Wednesday 9-1pm Open to all levels For intermediate and advanced artists who want to use their imagination in the service of social justice.

Explores the prolific and exciting overlap between socially engaged art and cultural practices generated by recent social movements around the world. Project-based responses to movements of student’s choosing.

Provide technical support, assist with research, review artist projects and address recent strategies and examine the shift of socially engaged artists from “studio to situation” or “participant.” Open to students of all disciplines, with a basic knowledge of contemporary art history, Adobe Photoshop, InDesign and Premiere. #activism #autobiography #criticaltheory #decolonization #economicjustice #environmentaljustice #feminism #gendernonbinary #humor #identity #illustration #installation #multiples #narrative #performative #queertheory #racialjustice #socialpractice #textandimage #thebody #theimaginary #utopia

Trick Films & Special Effects Joel Frenzer MDIA-0148 4 SHU, Tuesday 2-6pm Open to all levels Optical Digital Effects, (a.k.a Special Effects) is the hybrid meeting of Live-Action and Animation to create unusual visuals effects. From the simplest double exposures through digital compositing, this course covers a range of digital

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and traditional analog tools. In addition to technique and skill building, this course will help students' achieve individual goals as artists, by examining when and why visual effects are used and exploring the relationship between visual effects and core concepts of a moving image work.

Topics include: lighting and shooting against a green screen, compositing footage in After Effects, manipulating footage frame-by-frame using the Optical Printer and Photoshop, in-camera effects and Projecting and Re-Recording Projections to create trick-film scenarios and environments. Hand-on weekly assignments will develop your technical skills, culminating in a final project of your choosing. This class is ideal for those students who want to creatively integrate their Film, Digital and Animation work, advanced students who want to incorporate special effects into a current Film or Animation project, or any student curious to experiment with media in a new way.

Media Culture Now Neda Moridpour MDIA-0182 4 SHU, Monday 9-1pm Open to all levels MDIA, GRA An understanding of how mass media functions is necessary in order to enact meaningful social change. The media representation of a drowned Syrian boy and refugees; the Black Lives Matter activists; The US military recruiting from gaming industries for Iraq and Gulf Wars; The previous US presidential elections; reality TV, etc. These images shape both our public policy and private lives. Additionally, between TV, radio, newspapers, magazines, internet, mobile phones, billboards and LED displays, we see between 250 to 3000 ads per day.

These are just a few stories that indicate how text has expanded from the merely literary to all forms of cultural production, and how mass media has come to be a powerful means of expressing culture, which ‘frames’ our everyday life. Through readings, presentations, group discussions and studio work we will look critically at the media culture. We will examine texts from Shanti Kumar, Erving Goffman, Jackson Katz, John Berger, Naomi Klein, Jean Kilbourne, Guy Debord, Adbusters, The Onion, fashion magazines, and activist art. These readings will create the structure for studio work as well as challenging commercial methods by producing work about our vernacular culture. This course is designed as an introduction to digital art-making techniques and skills.

Non-SMFA students and MAT Art Education students will receive a letter grade.

#activism #criticaltheory #decolonization #feminism #gendernonbinary #humor #illustration #multiples #queertheory #racialjustice #textandimage #theimaginary

Painting Intro to Painting

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Angelina Gualdoni, Anne Harris PAI-0003 4 SHU Section 1: Monday 2-6pm (Anne Harris) Section 2: Thursday 9-1 pm (Angelina Gualdoni) Introductory Introduces practical information about the fundamentals of painting: shape, tone, edge, composition, color, line, perspective, and substance. Develops ability to describe visual world in multiple modes; provides grounding necessary to take more advanced painting courses. Demonstrations of materials and techniques, slide presentations, discussions, assignments, work periods, group and individual critiques.

Majority of time spent in a studio/work mode. Course grounded in representation; recommended previous life drawing class or its equivalent, or concurrent with Introduction to Oil Painting. Introductory course open to all levels.

Introduction to Figure Painting Daphne Arthur PAI-0006 4 SHU, Wednesday, 9-1pm Open to all levels Use of a range of traditional to contemporary approaches with focus on familiarizing students with basic painting concepts such as lean to fat, color mixing from observation, building volume with value, and brushstroke. Recommended: Some experience in drawing recommended.

Introduction to Abstraction: Flatlands Karmimadeebora McMillan PAI-0019 Section 1: Thursday, 11-1pm Section 2: Thursday, 2-4pm 2 SHU Open to all levels Introductory studio course examines design principles as applied to abstract artworks. Weekly assignments address strategies for generating non-objective imagery using water-based media and collage, culminating in a body of work on paper or canvas. Projects emphasize brainstorming multiple answers to visual problems over selecting the first solution that comes to mind. Students learn to “speak graphically,” utilizing shape, line, color, arrangement, or scale, to inform their decisions as they move further into painting, printmaking, or drawing. Serves as an excellent entry point into considering meaning and form in contemporary abstraction.

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Focus on acquisition of basic 2D skills (color, line, shape, tone, etc.) as a basis for making/designing images across multiple media. Techniques and principles are applicable to advanced drawing, printmaking, and collage strategies. Media used includes charcoal, diverse collage material, pigment, and acrylic paint. While the principles introduced carry into multiple media, most examined examples are abstract – in the broadest sense of the word, including Western and Non-Western paintings, textiles, ceramics, drawings, etc. Serves as an excellent entry point into considering meaning and form in contemporary abstraction. Introductory course open to all levels.

Beginning Painting Michael MacMahon PAI-0021 2 SHU, Tuesday 11-1pm Open to all levels Develop core skills in direct observational painting. Lectures include introduction to relevant art historical and contemporary dialogue. Demonstrations provide practical information on a variety of materials and techniques.

Work on various surfaces with oil paint and some water-based media. Exercises introduce fundamentals of painting including contrast, value, perspective, color and color theory, composition and techniques necessary to develop strong painting skills. Introductory course open to all levels. Non-SMFA students will receive a letter grade.

Intermediate Studio Seminar Eva Lundsager PAI-0075 4 SHU, Monday 9-1pm Intermediate This class is a bridge between project-based basic courses and the independent work of Senior Thesis.

Helps students develop a strong and committed studio-based practice where they experience the challenges and rewards of sustaining a body of work from inception to exhibition. Each student will be provided with studio space to support their developing practice, and it is essential that applicants are self-motivated and willing to spend substantial time working out of class each week. Applicants to this course must be in their second or third year and enrolled at least half-time studio at SMFA throughout both Fall and Spring semesters. Prerequisites include: at least one introductory and one intermediate level course, or demonstrated equivalent through portfolio and statement. Faculty permission required.

Intermediate Course. #abstraction #autobiography #identity #materialprocess #narrative #theimaginary

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Flora and Fauna Ria Brodell PAI-0110 4 SHU, Wednesday 2-6pm Intermediate An exploration of flora and fauna as broad themes in contemporary and historical art. Potential cross over into other subjects such as climate change, biology, gender, environmental conservation etc. Topics such as naturalist field notes will include the history and context of different taxonomies resulting in opportunities for individual research and pursuits. A broad range of media and methods will be discussed and used. Regular critiques and discussions will help to support student’s projects. Designed for Intermediate level students. One previous introductory painting or drawing course recommended. #ecologies #illustration #narrative #theimaginary #utopia

Advanced Painting: Painting Space Nan Freeman PAI-0130 4 SHU, Wednesday 9-1pm Introductory Studio class for advanced painters which provides students with a space to advance their understanding of independent projects and the relevant methods, contexts and concepts. Emphasis on the development of a cohesive creative project. Focus on studio time, critical dialogue, and reflection on strategies for conceiving, researching, experimenting, building, concluding, exhibiting and defending creative endeavors. Broad interpretation taken of what a painting can be. Experimental approaches and crossover between media fully supported. Students should have taken at least 2 Painting, Drawing or Printmaking courses prior to enrollment.

Non-SMFA students and MAT Art Education students will receive a letter grade.

Intermediate Painting and Technology Boyang Hou PAI-0151 4 SHU, Thursday 9-1pm Intermediate

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This course is designed to introduce students to a range of possibilities for generating painting source material from technologies such as photography, video, film and digital images. This class will be 25% demo and slides, 75% studio. Students will be given a practical and critical overview of the relationships between traditional and new technologies.

More and more painters are using photography, digital imaging, video and other new media to create interdisciplinary works or as a tool for representation of images. This has been going on in one way or another since Vermeer. This course will help students realize the potential of the tools at their disposal. Some painting students feel using certain technologies is cheating. The real question is which technologies are appropriate to which goal. The course will help students to judge which technologies are appropriate for their own visions. The course will examine ideological and formal rationales for using various technologies and further help students explore the complex relationships between content and process. Students will leave this class able to create and/or find technological source material, able to transfer images to painting surface using gridding, transfer methods, and projection, and be able to manipulate source material and paint to develop student's painting proficiency and range of painterly expression.

Recommendations: any introductory or intermediate painting course or permission of instructor.

Abstraction and the Body Eva Lundsager and Ria Brodell PAI-0153 4 SHU, Tuesday 9-1pm Intermediate Team-taught course that looks at painting as it relates to the experience of being a body moving through the world. Students explore and utilize the figure, the body, ideas of abstraction, and/or representation, and address individual concepts in ways ranging from literal depictions of the figure to completely non-representational abstraction. Discuss how painting has addressed the human experience both historically and in our own time.

Examine artists and texts that spur discussion; develop art historical knowledge around abstract and figurative painting; strengthen students’ understanding and ability to communicate through their work. Importantly, class responsively reacts to the new and diverse ways in which students may be accessing, encountering and considering issues of abstraction and the body in relationship to contemporary conversations and crises.

Intermediate level course. At least one previous introductory painting course recommended. Non-SMFA students and MAT Art Education students will receive a letter grade.

#abstraction #autobiography #materialprocess #multiples #performative #portraiture #thebody

Advanced Painting Studio David Cruz PAI-0178

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4 SHU, Monday, 9-1pm Advanced Advanced Painting Studio is a course designed to allow advanced students to further develop their painting practice. Special topics including painting’s relationship to culture, literature, and/or theory may be introduced.

Class time will include slide presentations, field trips, individual and group critiques as well as in-class studio time. Students will be required to work outside of class and prepare work for critique. This course is for students who have completed at least one intermediate course and are able to work independently on a body of work.

Painting and Installation Patte Loper SMFA-0123 4 SHU, Tuesday 2-6pm Intermediate Exposes intermediate and advanced students focused on painting and drawing (or related media) to installation practices. Students use the classroom, individual studios, and the school at large as an experimental laboratory for developing site-specific and site-responsive work. Recommendations: Minimum of one introductory level painting course.

Landscape Painting Michael F. MacMahon PAIM-0001 2 SHU, Monday 9:30-12:20pm Open to all levels The landscape explored as a means of expressing our contemporary world via realism, metaphor and abstraction. Landscape painting is an innately pluralist exercise: it presents us with a range of possible approaches and perspectives by which to analyze not only the unique places we inhabit, but also their context in relation to ourselves. In combining both their geophysical origins and the cultural overlay of human presence, often created over millennia, landscapes reflect a living synthesis of people and place that is vital to understanding its past, present and future. Explore the landscape you inhabit as a means of expressing our contemporary world via realism, metaphor and abstraction. Build the groundwork for a successful landscape painting and the freedom to expand on this throughout the semester. Fantastic opportunity for all ranges of students from beginning to more advanced students to showcase the landscape they inhabit. Excludes BFA, MFA, and SMFA Post Bac students.

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#abstraction #decolonization #environmentaljustice #materialprocess #narrative #socialpractice #theimaginary #timebased

Intro to Painting Continued Michael F. MacMahon PAIM-0053 2 SHU, Friday 1:30-4:30pm Open to all levels Continuation of Introduction to Painting (FAM 0052). Students work more independently and explore advanced painting techniques and issues. Investigate work by contemporary artists and explore what it means to be a painter in the 21st century, influenced by global art history. Investigate and mine approaches to painting through the history of the medium to create work that allows you to use vocabulary of the history of painting.

Personal commitment, vision, and curiosity are the driving forces behind the work produced. Emphasis on developing one’s own tastes and sensibilities as an artist. Individual and group critiques conducted throughout the semester. Students challenged to attain a higher degree of proficiency and moving closer to artistic goals.

Create a cohesive body of work that can be curated in a contemporary art setting. Open to all levels. Excludes BFA, MFA, and SMFA Post Bac students.

#abstraction #criticaltheory #futurism #humor #materialprocess #multiples #narrative #technology #theimaginary

Painting Foundation Lizi Brown, Laura Fischman PAIM- 0054 Section 1: Monday and Wednesday, 7-10pm Section 2: Tuesday and Thursday, 1:30-4:30pm 4 SHU Open to all levels Introduction to materials and methods of painting. Learn basic properties of paint; obtain broad understanding of color, shape, structure and space. Examine the world around you; capture and respond to it in paint. Subject matter includes objects, landscapes, people and places; exploring students’ own ideas and reacting to the current moment. Classes consist of demonstrations, discussion, painting exercises that build upon one another over the semester. Students gain comfort and familiarity with the language of painting by reading about and responding to contemporary painting/painters, and critiquing/discussing each other’s work. Open to all levels.

Excludes BFA, MFA, and SMFA Post Bac students. #abstraction #economicjustice #environmentaljustice #feminism #gendernonbinary #identity #materialprocess #racialjustice

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Painting: Inter to Adv Lizi Brown PAIM-0055 4 SHU, Monday and Wednesday, 1:30-4:30pm Intermediate to Advanced Intermediate/advanced painting course emphasizes personal vision. Make paintings reflecting your ideas and observations. Your path is determined by the interests you bring to the group; personal, political, or all of the above. Work on boosting your technical skills. Benefit from each other’s curiosity and experiments. Improve through group discussion/collaboration and evaluation of work. Deepen your visual literacy and develop conceptually and technically. Excludes BFA, MFA, and SMFA Post Bac students.

#abstraction #economicjustice #environmentaljustice #feminism #gendernonbinary #identity #materialprocess #narrative #portraiture #racialjustice

Painting From Photographs Laura Fischman PAIM-0056 4 SHU, Tuesday & Thursday 9:30-12:30pm Intermediate Learn how to work from, alter, and abstract photographs to inspire paintings. Gain insight into the myriad possibilities that photography offers painters to develop source material and imagery. Taking inspiration from photographs is not new to painting: read about, watch films and discuss this historical relationship. Consider what it means to use digital tools and paint in an image-driven, digital age. Complete this studio course with improved painting skills and the foundation of a practice to be able to maintain outside of the classroom. Some prior painting experience is suggested, but all levels are welcome. Excludes BFA, MFA, and SMFA Post Bac students.

Contemporary Portrait Painting Michael MacMahon PAIM-0070 2 SHU, Friday 10-1pm Open to all levels Designed to help students understand and express the complex landscape of the human head. Look at a variety of contemporary portrait artists; explore many solutions to how to paint people. Students will learn to identify, mix, and apply color using both observational and emotional skin tones. Group critiques provide opportunities

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for creative problem solving. Directed exercises; time to work on your own projects. Class designed around heavy body paints (oils or acrylics), also open to experimentation with other media. Excludes BFA, MFA, and SMFA Post Bac students.

#autobiography #criticaltheory #feminism #identity #narrative #portraiture #thebody #theimaginary

Watercolor Katharine Finnegan PAIM-0093 4 SHU, Tuesday and Thursday 1:30-4:30pm Open to all levels This course is an introduction to watercolor painting for beginners. The basic techniques and the characteristics innate to the watercolor medium will be explored. Frequent exercises will develop the individual's understanding of the medium in technical, expressive, and historical terms. Great watercolorists will be studied. There will be a trip to see contemporary watercolors in a Boston gallery and paintings from the Museum of Fine Arts' watercolor collection. Basic skills will include watercolor techniques, light, figure-ground relationships, and color. Excludes BFA, MFA, and SMFA Post Bac students.

Watercolor: Fundamentals + Beyond Katharine Finnegan PAIM-0094 4 SHU, Tuesday and Thursday 6:30-9:30pm Open to all levels Exploration of the basic techniques and characteristics of the watercolor medium. Development of understanding of the medium in technical, expressive, and historical terms through warm-ups and fundamental exercises. After completing these exercises, students work with the teacher to develop their own themes and subject matter. Discussion of great watercolor painters and viewing of contemporary watercolors. Previous drawing and/or painting experience in any media required. Course may be repeated. Excludes BFA, MFA, and SMFA Post Bac students.

Performance Beginning Performance Sandrine Shaefer PER-0102

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4 SHU, Friday 9-1pm Open to all levels Introduces students to the basic principles of using the body in time and space in relation to an audience in order to convey meaning. Gain a contextual understanding of the history of performance art through basic readings and develop the vocabulary with which to discuss and critique performances. Non-SMFA students and MAT Art Education students will receive a letter grade.

Props and Puppets Danielle Abrams PER-0104 4 SHU, Tuesday 2-6pm Open to all levels Hybrid course explores puppetry, performing objects, and animation. Through building figures and fantasy objects, and working with experimental animation, rouse the past, interpret the everyday, and evoke the comical, the absurd, the tragic, the futuristic, and our own alter-egos. Explore global and historical puppetry practices, and animation including pre-cinema toys, magic lantern slideshows, toy theatres, dioramas, cantastoria, shadow plays, and peep shows. Sources of inspiration include puppets and masks made in Nigeria and Mali; ancient automatons by Al-Jazari and Leonardo da Vinci; Indonesian shadow puppetry; Bunraku from Japan; and contemporary puppeteers and object-animators such as Bread and Puppet Theater, William Wegman, Robin Rhodes, and Small Works Toy Theater. Found object, cut paper, and junk puppets animated using DIY and stop-motion techniques. Small set-building, lighting, and pixilation (animating with the human body). Film screenings, slideshows, and visits with puppet/animation artists. Semester culminates with a collaborative puppet performance-pageant-play-pandemonium-parade. Live puppet performances and animations exhibited on the SMFA web channel. Introductory course open to all levels. No experience in puppetry or animation necessary. Non-SMFA students and MAT Art Education students will receive a letter grade.

#abstraction #activism #autobiography #criticaltheory #decolonization #ecologies #economicjustice #environmentaljustice #feminism #gendernon-binary #healthandsustainability #humor #identity #material process #multiples #narrative #performative #portraiture #publicart #queertheory #racialjustice #socialpractice #textandimage #thebody #theimaginary #timebased #utopia

Text and Drawing Anthony Romero SMFA-0122 4 SHU, Thursday 9-1pm Advanced/Intermediate DRW, PER 39

Merges performance, writing and drawing practices and explores the ways in which mark making and drawing can be employed as a textual practice. Throughout the course students will be asked to encounter and research works of art that have explored writing as a means of marking time, space, history, and self.

Students can expect art historical readings to be paired with classroom discussion and studio practice.

Socially Engaged Art Neda Moridpour MDIA-0181 4 SHU, Wednesday 9-1pm Open to all levels For intermediate and advanced artists who want to use their imagination in the service of social justice.

Explores the prolific and exciting overlap between socially engaged art and cultural practices generated by recent social movements around the world. Project-based responses to movements of student’s choosing.

Provide technical support, assist with research, review artist projects and address recent strategies and examine the shift of socially engaged artists from “studio to situation” or “participant.” Open to students of all disciplines, with a basic knowledge of contemporary art history, Adobe Photoshop, InDesign and Premiere. #activism #autobiography #criticaltheory #decolonization #economicjustice #environmentaljustice #feminism #gendernonbinary #humor #identity #illustration #installation #multiples #narrative #performative #queertheory #racialjustice #socialpractice #textandimage #thebody #theimaginary #utopia

Photography Photography after the Internet Laura Beth Reese PHT-0110 2 SHU, Tuesday 6-9pm Open to all levels Students explore ways in which the internet informs and acts as a catalyst for a new and interesting photographic practice. Using cell phone cameras, found images, image editing software, and online platforms, students complete a series of photographic assignments that address ideas of appropriation, surveillance, and online performance of self. Unpack how photographs function in the age of the internet through a careful analysis of the “post-internet” practices of artists like Hito Steyerl, Amalia Ulman, and Lil Miquela. Semester

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culminates in a final project of the students’ choosing that builds upon the content of the course. Open to students of all levels. No prerequisites or previous photography experience required. #humor #identity #technology #textandimage #theimaginary #utopia

Intro to Digital Photography Vincent Martin, Anthony Hamboussi PHT-0111 4 SHU Section 1: Monday 9-1pm (Vincent Martin) Section 2: Wednesday 2-6pm (Anthony Hamboussi) Introductory Introduces technique and theory of digital image making. Introduces students to digital cameras and flatbed scanners for image capture, computer programs such as Lightroom and Photoshop for image flow and processing, and archival digital printers for print output. Assignments, lectures, readings and demonstrations create a forum to discuss picture making, and its role in personal and cultural terms, in an age where the photograph has become ubiquitous. Engagement with histories of art and photography provides a platform to consider how photographs are produced, circulated, duplicated and situated in social, political, cultural and economic contexts of the moment. How do we produce unique images, influenced by our own investigations within todays context? Level: Beginning level. Non-SMFA students and MAT Art Education students will receive a letter grade.

Black, White & Gray Bill Burke PHT-0114 4 SHU, Friday 2-6pm Advanced Hands-on advanced studio class. Learn to see what a traditional fine black and white print can be, and gain confidence with the materials. After becoming adept at the traditional techniques, students are encouraged to expand and break the rules in a manner that is appropriate, or inappropriate to the nature of light, film, paper, chemistry. Individual conversations will take place as students work in the dark room and the instructor oversees their techniques and monitors their progress. As the term progresses, students will each make a mural print of 40” x 50=/- “ Non-SMFA students and MAT Art Education students will receive a letter grade.

Witness: Art & Action

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Bonnie Donohue PHT-0135 4 SHU, Tuesday 2-6pm Open to all levels Many artists, writers, and activists of our time create works that bear witness to past, present, or impending future conditions that shape our lives. As cultural workers, they attempt to alter those conditions by creating and interrogating meaning for the political, cultural, environmental, and biographical issues with which they are dynamically involved. The current moment is one in which nearly everyone is bearing witness to the same events, including a world-wide pandemic, followed by widespread documentation of police brutality aimed at people of color, and unprecedented street demonstrations resisting it, while politicians exploit the unrest in divisive ways. The upcoming American election in Fall 2020 will almost certainly be chaotic. Students develop and produce personal work that signifies their own place and time. Forms of personal and political testimony acknowledge the fraught histories of place, race, sexuality, health, and politics, and acknowledge both the dangers and the great potential for change at this moment. Art can be a powerful tool of change. As social media algorithms, bots, and ideologues wage a fierce political battle for control of hearts, minds, and personal capital, Witness: Art and Action explores various layers of reality, including mass surveillance and marketing tools directed at changing how we think, which artists must contend with and unpack as they create their work. Lectures, discussions, and critiques. Technical demonstrations accessed both asynchronously as tutorials and live as demonstrations.

Intro to Large Format Photography Laura Beth Reese PHT-0147 4 SHU, Wednesday 9-1pm Open to all levels Overview of the process of large format photography: operating the camera, developing film, and printing photographs in the darkroom and digitally, and basic lighting skills. Technical exploration of the medium supplemented with in-class discussions about the work of artists who have used large format cameras throughout history and its relevance to, and effect upon, the fine art world today. Reserved access to 4x5" large format cameras and the opportunity to work on 8x10" film. Non-SMFA students and MAT Art Education students will receive a letter grade. Prerequisite: PHT-0111 or higher. #autobiography #documentary #multiples #narrative #portraiture

Image, Narrative, & Psychoanalysis Rachelle Mozman Solano PHT-0149 4 SHU, Monday 2-6pm 42

Intermediate-advanced This intermediate to advanced level course, open to students of any discipline, will explore the relationship of image making to storytelling and our unconscious mind. The course will focus on in class image making exercises, free association, and weekly readings, and the creation of a final project. The unconscious, as understood Psychoanalysis, houses memories, and feelings that are hidden from our conscious, yet art making can reveal this knowledge. Our dreams are a direct link to our unconscious, made of fragmented images telling non-linear narratives. How can we come to better understand our unconscious mind, to make more unique stories with a personal voice? In this course parallels between the narratives we create in our art to the messages in our dreams, internalized memories and experiences will be explored. We will meet synchronously each week for two hours. Other class work will be asynchronous.

Digital Printing and Color Theory Laurel Nakadate PHT-0149 4 SHU, Tuesday, 9-1pm Intermediate Produce highly accomplished prints and explore the language of color photography. Techniques include scanning digital and analog negatives, software corrections tools, Photoshop for advanced color correction and outsourcing, and archival inkjet printing with Epson printers, including large-format printers. Examines the historical background of color photography and the social and political implications embedded in the medium’s development through class readings and discussions. Advanced students develop a professional workflow for their studio practice. Regular in-class critiques of student work and exercises. Previous experience with digital printing recommended. Non-SMFA students and MAT Art Education students will receive a letter grade. Pre-requisite: PHT 0111

Socially Engaged Art Neda Moridpour MDIA-0181 4 SHU, Wednesday 9-1pm Open to all levels For intermediate and advanced artists who want to use their imagination in the service of social justice.

Explores the prolific and exciting overlap between socially engaged art and cultural practices generated by recent social movements around the world. Project-based responses to movements of student’s choosing.

Provide technical support, assist with research, review artist projects and address recent strategies and examine

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the shift of socially engaged artists from “studio to situation” or “participant.” Open to students of all disciplines, with a basic knowledge of contemporary art history, Adobe Photoshop, InDesign and Premiere. #activism #autobiography #criticaltheory #decolonization #economicjustice #environmentaljustice #feminism #gendernonbinary #humor #identity #illustration #installation #multiples #narrative #performative #queertheory #racialjustice #socialpractice #textandimage #thebody #theimaginary #utopia

Special Topics: Advanced Photography Laurel Nakadate PHT-0191 4 SHU, Friday 9-1pm Advanced Special Topics: Advanced Photo will provide time and space for weekly group critique and 1:1 meetings in order to support the development of, and provide critical feedback for, projects in photography and video. This course is open to graduate students and upper level undergraduates who have already taken Intermediate Photography. To apply for the course students must submit a short description of the project they plan to develop over the course of the semester, and provide examples of current work either through links or images submitted to the instructor. Course prerequisites: Intermediate Photography and instructor approval.

Photo 1: Film and Darkroom Mike Mandel, Vincent Martin PHTM-0063 Section 1: Monday and Wednesday, 1:30-4:30pm (Mike Mandel) Section 2:Tuesday and Thursday, 1:30-4:30pm (Vincent Martin) 4 SHU Open to all levels This course provides a fundamental knowledge and experience with the black & white photographic process. The emphasis is to enable the student to think visually and begin to develop a personal way of seeing with the camera. The course is focused on the tradition of photography, making pictures with a 35mm camera, film development and the craft of making prints in the darkroom. Focus: There will be weekly demonstrations and assignments to teach students the necessary techniques to produce quality negatives and prints. Students will be challenged in various assignments to learn to see photographically.

Group discussion is an important part of the learning process and all student work will be discussed during group critiques in class. The instructor will provide a historical and critical context for photography, presenting examples of artists’ work as well as scholarly readings. Toward the end of the semester students will be expected to make one long term project which will be presented in class on the final day. The Tufts darkroom has a limited number of 35mm cameras to loan out for the semester, but 44

some students will need to have their own 35mm camera. All students will purchase film and photographic printing paper, but the school will provide chemicals and darkroom facilities. Approximate cost of supplies will be $200. 3-6 hours per week outside of class time is often necessary to complete work and students are encouraged to spend as much time as they need in the darkroom during open lab hours.

Photography and Computer Tom MacIntyre PHTM-0065 Section 1: Monday and Wednesday, 3-6pm Section 2: Tuesday and Thursday, 4-7pm 4 SHU Open to all levels This course is an introduction to the techniques of electronic imaging as they relate to the practice of photography. Students will learn the basics of digitizing, image editing, and manipulation with Adobe Photoshop. In addition to regular assignments and critiques, there will be frequent class discussions of critical and historical issues raised by the introduction of the computer into the practice of photography. Some familiarity with computers is desirable, but not absolutely necessary. Please see departmental website for specific details.

#criticaltheory #documentary #identity #narrative #portraiture #technology #textandimage

Print & Paper Repetition and Pattern Asuka Ohsawa PRT-0101 4 SHU, Thursday 11-1pm, 2-4pm Open to all levels This class focuses on the idea of repetition and patterns using both analogue and digital matrices. Students will learn how to make, manipulate, and print hand-made stencils/plates to generate multiple variations from a single matrix, as well as how to create repeat patterns from a single motif using Adobe Photoshop and/or

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Illustrator. The digitally generated patterns will be printed either on paper or textile using print-on-demand services. Presentations and discussions will include cultural and political histories of patterns, intertwined history of print media and design, and adaptation of repetitions and seriality within the contemporary graphic arts practice. Group critiques and individual consultation will focus on the development of students’ independent voices throughout the semester. Open to all levels.

#materialprocess #multiples #technology #textandimage

Introduction to Hand Papermaking Milcah Bassel PRT-0102 4 SHU, Tuesday 2-6pm Open to all levels This course will introduce students to contemporary and historical approaches to hand papermaking. Students will learn both Eastern and Western approaches to papermaking as they experiment with the medium and make relationships with their work in other media. In addition to working with purchased fibers, students will be encouraged to source materials that can be recycled/repurposed into paper. Visiting artists will offer students a view into the conceptual and material approaches to working with handmade paper and pulp and its potential as an innovative and multi-faceted art form. The instructor will assist students in designing and creating their own ‘in-home’ papermaking studios. Demonstrations, presentations, and readings will be an inherent part of the course.

#ecologies #healthandsustainability #materialprocess #multiples

Digital Print Michael Smoot PRT-0107 4 SHU, Friday 11-1pm, 2-4pm Open to all levels This course will explore an expanded view of print as it applies to the use of various digital technologies.

Beginning with an overview of traditional mediums and techniques, we will look at the utilization and adoption of a variety of digital processes for the production of print media. This will include a range of photomechanical techniques and rapid prototyping technologies (CNC routing, 3D printing, and laser cutting).

In addition, we will explore more readily accessible technologies, such as, laser and inkjet printers, vinyl cutters, and mobile technologies with their accompanying applications. Students will be challenged to stretch their definition of print media and develop a series of projects incorporating the technologies, process, and techniques of their choosing/invention. Demonstrations, presentations, and readings will be an inherent part of

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the course. Together, we will learn how to use Adobe Creative Cloud applications such as Photoshop, Illustrator, and InDesign to manipulate, design, and adjust imagery for print. Students will be required to purchase an affordable all-in-one scanner/photocopier/printer to work with in their studio. Open to all levels.

Driving in Reverse: Print History Peter Scott PRT-0107 4 SHU, Wednesday 11-1pm, 2-4pm Open to all levels History is often learned in reverse, and print processes are often misunderstood when we are only reading about them. This is a studio course structured around the reverse history of various print processes. Starting with several contemporary approaches, including digital applications, we will march backwards through the history of printmaking technology. Each of our print projects will be based on casebook examples of artists’ work over the past 500+ years. Following these role models, we can “regress” from digital media to photography, back to lithography and relief engraving, back to intaglio engraving and etching, back to woodcuts and stencils. The class will feature weekly presentations of artists’ work and will provide assigned readings. Presentations will include guest artists and lecturers, and student independent research. Group critique, peer feedback, and individual consultations involving independent print projects will be ongoing. No previous printmaking experience is required. #criticaltheory #documentary #humor #illustration #materialprocess #multiples #narrative #portraiture #socialpractice #technology #textandimage #theimaginary

Exploring Paper Milcah Bassel PRT-0109 4 SHU, Thursday 9-1pm Open to all levels “Exploring Paper” will focus on paper as a malleable, interdisciplinary material. Students will explore different papers, their properties, and their historical and contemporary uses; industrial, commercial and artistic.

Emphasis will be on repurposing/recycling paper to create 2D and 3D works. Visiting artists and artists who work with paper as a primary source material will be an integral part of the course. An overview of the history of papermaking and contemporary uses of paper will give students a deeper understanding of the potential of paper as a material and as an innovative art form. Demonstrations, presentations, and readings will be an inherent part of the course.

#ecologies #materialprocess #multiples

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Collaborative Print Michael Smoot PRT-0111 4 SHU, Thursday 11-1pm, 2-4pm Open to all levels A distinctive aspect of producing prints is the potential for a collective and collaborative effort. This course will explore a history of collaboration involving print media, and the transformative socio-political possibilities of such a practice. In addition to employing materials and processes to produce prints, students will focus on the capacity of the creative act of working with print media to encourage and produce alternate conditions, and modes of civic discourse and engagement. Together, we will examine the work of various artist groups, including: Appalshop, Alternate ROOTS, Chto Delat, Taller Popular de Serigrafia, Bread and Puppet Theater, and Critical Art Ensemble, among others. We will participate in group discussions and workshops with the ultimate goal of developing and enacting a series of collaborative print projects that address students’ specific cultural interests, political perspectives, and yearned-for alternative realities. Attention will be given to collaborating with a local organization to further a cause of the class’ choosing. Open to all levels.

Games and Strategies Kate Conlon PRT-0112 4 SHU, Tuesday 11-1pm, 2-4pm Open to all levels “Any concept or quality can be a rule, an invariable. Rules oppose and derail subjectivity. They loosen the imprinted circuits of the individual.” - Oyvind Fahlstrom In this course, students explore the use of game structures as strategies for artistic production. Weekly readings and lectures introduce the history of game-play in modern and contemporary art as well as studio methodologies based on chance, improvisation, simulation, and play. Collaborative exercises at the start of the semester create the foundation for self-directed projects in which students set their own parameters and consider the expanded studio as a field of play. Production of artist multiples in the form of toys, kits, board games, and booklets is supported by demonstrations of DIY printing, casting, and construction methods. Class time is divided between demonstrations, reading discussions, visiting artist lectures, individual meetings, and critique. Open to all levels.

#humor #materialprocess #multiples #performative #socialpractice

Replicas and Reproductions Kate Conlon 48

PRT-0113 4 SHU, Monday 11-1pm 2-4pm Open to all levels This course offers an in-depth investigation into concepts of replicas and reproductions. Together, we will question what can be considered an “original” by making objects and prints that exist as “multiples” in space-time. We will explore different methods of technological production to imitate, reproduce, and challenge what can be considered an authentic object, impression, or experience. We will seek to create “likenesses” that can become a starting point for discussion and critique and explore how sameness can be a means to distinguish difference. For centuries, ideas of mimesis, aura, and originality have been central to artistic discourse. As emergent technologies such as digital fabrication, augmented reality, and Deepfakes facilitate increasingly high-fidelity replication, it has become necessary to consider these ideas in the navigation of everyday life and to contemplate how our impressions are mediated by the use of technology. Throughout the semester, we will look at visual, digital, and audio examples of ‘the copy’ as replicas, counterfeits, knockoffs and bootlegs. We will consider reproduction as a studio methodology by studying artists who employ strategies of impersonation, parody, homage, and reconstruction. Studio assignments will allow for the use of a variety of digital and analog reproduction techniques including 2D and 3D scanning and printing, laser cutting, casting, and basic printmaking techniques. Weekly demos, lectures, and exercises in the first half of the semester will support the development of a self-directed final studio project. Open to all levels.

#criticaltheory #materialprocess #multiples #technology

Big Print Peter Scott PRT-0115 4 SHU, Tuesday 11-1pm, 2-4pm Intermediate Ambitious print projects need not depend on industrial caliber equipment. They do, however, demand commitment, persistence, and attention to the correspondence between scale and image. Working in a large format can call into question the usual conventions of a print as a reproduced picture. Big prints have their own particular demands in terms of production, aesthetics, image scale, use of materials, and technical assistance.

The goals of this intensive course are to produce large-format prints in a collaborative group setting. We will discuss and develop our ideas with attention given to determining the appropriate format and medium, or combination of media. Depending on the skills a student brings into the class, and available facilities, we will be working across the four major printmaking media (relief, intaglio, planographic, stencil) along with related digital applications. The goal of the course is to provide a platform for students with previous experience in printmaking to develop strategies for a series of ambitious large format print projects and to see them through production. As students develop their prints, either individually or as a team, the collaborative support and attention of the class will be a priority. Group critiques, peer feedback, and individual consultation will be ongoing. Previous printmaking experience is expected.

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#abstraction #humor #illustration #installation #materialprocess #multiples #narrative #technology #textandimage #theimaginary

Advanced Print: Special Projects Jennifer Schmidt PRT-0116 4 SHU, Wednesday 11-1pm, 2-4pm Intermediate-Advanced We will explore the multitude of ways in which printed ephemera can be used to disseminate ideas and offer inter-play with the public as a cheap and efficient method of reproducing imagery and text. Projects that utilize print media as a means for creating installations, posters, publications, performance, video, props, and clothing will be the focus of the curriculum, and will be introduced through presentations and readings. Writing a project proposal, researching methods of production and materials, as well as locating an exhibition venue/location will be a requirement of the course. Students must complete all course requirements, attend all classes, and be ready to actively engage in discussion and critique. We will meet individually and as a group to develop projects. Prior print experience and self-motivation are necessary for enrollment. This class is most appropriate for intermediate/advanced students working with print media.

#abstraction #activism #autobiography #criticaltheory #decolonization #ecologies #economicjustice #environmentaljustice #feminism #futurism #gendernonbinary #healthandsustainability #humor #identity #installation #materialprocess #multiples #narrative #performative #publicart #queertheory #racialjustice #socialpractice #technology #textandimage #thebody #theimaginary #timebased #utopia

Publishing Now Be Oakley PRT-0120 4 SHU, Monday, 11-1pm, 2-4pm Open to all levels (Cross-listed with WGSS-0185-10) Publishing Now with GenderFail will survey contemporary publishing from the perspective of an artist and publisher active in the print community. The course will consider the multiple uses of “printed matter” as a fine arts practice through the lens of queer, trans, feminist, Black and indigenous practices. Through presentations, readings, discussions and visiting artists, students will be introduced to three major themes identified in contemporary publishing, including: publishing as curatorial space— the history of projects and collectives that have redefined the function of libraries, bookstores, and reading rooms as ideological expression; publishing as practice— how contemporary artists use publishing as an artistic medium and tool within their practice; and emerging canons— the small self-publishing scene:

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fueled by ambition, care, and community support. We will learn about publishing networks, and how publishing as a practice can evolve through taking part in exhibitions and events, such as: gallery shows, art fairs, and public talks. We will learn practical approaches to creating and maintaining a professional practice as an artist, as well as, how to collaborate and work with others on projects through the sharing and negotiation of material. Weekly meetings will include presentations of artists working with print media; visiting artists and publishers; group discussion of readings; and demonstrations of self-publishing techniques and processes.

Together, we will publish an investigative print project. Students will work individually, and in small groups on collective projects, and will be expected to do weekly readings and independent research. Open to all levels.

Please visit http://www.genderfailpress.com for more information about GenderFail.

The Progressive Proof: Working with Color Carolyn Muskat PRT-0139 4 SHU, Monday 11-1pm, 2-4pm Intermediate Printmaking allows for an experimental and progressive approach to working with color. Through the use of color mixing, layering, and registration, we will learn how to vary hue and transparency to create serial images that are developed through step and repeat print processes. Color can be descriptive, emotional and graphic—signifying a range of interpretations and meanings. Through projects, presentations, demonstrations, study room visits, and visiting artist lectures, this advanced print class will explore how color can be used to further conceptual ideas through a series of progressive and variable printed proofs. Students will be encouraged to work across print media using processes of their own choosing. This course is appropriate for intermediate students with previous printmaking experience.

Series and Sets Rhoda Rosenberg PRT-0167 4 SHU, Friday, 9-1pm Open to all levels We will explore a range of experimental methods and approaches to creating prints that can be editioned as a similar image, then varied, to become a series of images that are similar but different, and relate to each other visually. We will adjust, alter, and adapt the printed image by turning, flipping, cutting, moving, and adding/subtracting elements—playing with the possibilities of graphic marks, and symmetry/asymmetry involving composition and sequencing. This could include visually developing a series of prints involving narrative, rules, and acts of decision making. A “series” of prints can become several “sets” of prints as choices are made involving how imagery is printed—leading to “sets” of prints that exist in relation to each other as part of a larger group. To create prints as “series and sets” implies time, contemplation, and the ability to

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recognize a visual and conceptual relationship between each impression. We will use monotype, relief, collagraph and digital processes to create prints on different types of materials, including: paper, fabric, wood and plexi. We will consider a variety of presentation formats, including: installation, books, scrolls, stacks, and sheets that can be positioned in relation to each other as a finished work. Demonstrations, presentations, and critique will be an integral part of the class.

How do we look at an image? How can it be changed? Then, what do we see? And if we keep making changes, what happens? These questions will motivate us to re-visit our print matrices to produce “series and sets” of prints. The great thing about printmaking is you can document all of the changes you make, and see what happens when you do.

Print: Professional Practices Carolyn Muskat PRT-0185 4 SHU, Tuesday and Thursday, 6-8pm Intermediate-Advanced Being an artist requires many things: creativity, dedication, and tenacity. Depending on how one defines success, it will also require a practical approach to running a business, and an ability to build a social and professional network of support. Considerations involving studio space and access to facilities, being part of a group critique, and locating grants and resources to further your work will become important. In this course, we will learn print-specific knowledge, involving: editioning, value, contracts, sales, taxes, and copyright, as well as, how to archive, present, and promote your work. Together, we will research print resources, involving: community studios, contract printing, print-on-demand, print fairs, print organizations, galleries, museums, and internships. Learning how to plan a project with attention to materials, process, and budget will be a focus of the class. We will go over practical professional skills involving how to prepare your cv, how to write a project statement, and how to propose an exhibition of your work. Our class will culminate with a professional group exhibition in a gallery in Boston. In addition to class presentations, demonstrations, and the organization of an exhibit, we will respond to the contemporary moment by attending events, lectures, and exhibitions taking place during Print Week in New York during the month of October (virtually or in person). This class is most appropriate for intermediate/advanced students working in print.

Draw & Print: Walls to Halls Charles Goss, Rhoda Rosenberg SMFA-0103 4 SHU, Wednesday 9-1pm All levels

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DRW/PRT

Drawing and Print: From the Walls to The Halls is all about experimentation and transformation; opening new ways to think about what a drawing is and learning how drawing and printmaking share an amazing conversation. This team-taught course will introduce students to a new and exciting way of combining drawing with printmaking and beyond. As an on-line course, students will be given a series of provocative drawing projects. These projects range from simple line, shape and color studies to personal/public, identity and conceptual ideas. We will encourage the students to use any kinds of mark making tools they can find, both traditional and non-traditional tools are encouraged. As these drawings evolve, we will investigate a number of techniques in printmaking to transform them into various forms of print: monoprints, relief prints, collagraphs, digital prints and image transfer methods. We will conduct lectures, demonstrations and discussions on-line.

Our students will be able to draw, paint, collage and print where they live. We will have faculty presentations, scheduled group critiques and offer individual consultations. Open to all levels and especially for students who want to have fun.

Sculpture 3D Foundations Justin Guertin, N. Sean Glover SCP-0031 Section 1: Monday, 2-6pm Section 2: Monday, 2-6pm 4 SHU Open to all levels Orientation to the shops, studios, tools, and materials necessary for designing, modeling, and fabricating a full range of structures and objects. Introduction to a range of important technical processes located in the various shops and sculpture facilities and to a variety of basic construction techniques including welding, woodworking, plaster mold-making, casting, and digital fabrication. Non-SMFA students will receive a letter grade.

Object a Week Mags Harries SCP-0101 4 SHU, Tuesday, 9-1pm Open to all levels

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Multi-disciplinary studio course where objects serve as catalysts for weekly projects in any medium to generate new approaches and expand the art-making process. Non-SMFA students and MAT Art Education students will receive a letter grade.

#humor #materialprocess #multiples #narrative #performative #timebased

Beginning Ceramics Eileen de Rosas, TBD SCP-0102 4 SHU Section 1: Thursday, 9-1pm (TBD) Section 2: Tuesday, 9-1pm (Eileen de Rosas) Open to all levels An introduction to sculptural, painterly, and functional approaches to ceramics. Explores techniques in wheel-throwing and construction for hand-building and examines the basic use of fire, glazes at low and high temperatures, and raku. No prerequisites. Non-SMFA students and MAT Art Education students will receive a letter grade.

Open Studio Floor van de Velde, Boyang Hou SCP-0108 4 SHU Section 1: Tuesday 2-6pm (Floor van de Velde) Section 2: Tuesday 2-6pm (Boyang Hou) Advanced Advanced-level studio course with a focus on providing time in the pursuit of individual projects. This class develops and expands students’ skills based on the needs of self-directed projects with a focus on individual feedback sessions with faculty. The faculty will work with students to develop resources on material processes, techniques and conceptual approaches relevant to the ongoing development of their research and ideas. This course is designed for graduate students and other advanced students who are already invested in their own research and studio practice in any media.

Drawing for Sculpture

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John Ros SMFA-0121 2 SHU, Thursday 9-11am All levels DRW, SCP Examines the basic elements that make up our three-dimensional world through investigations in space through drawing. Using simple materials expand awareness and observation of three-dimensional space and its relationships to the page. Traditional ideas of drawing are paired with conceptual research, developing practice and building connections across mediums. Practical and conceptual prompts will expand research and process. Explore two-dimensional drawings for three-dimensional thinking. Learn to translate ideas into fully-realized experiences. Open to all levels. #abstraction #documentary #identity #installation #materialprocess

Individual Ceramics Studio Projects Erin Genia SCP-0123 4 SHU, Friday, 9-1pm Intermediate-Advanced This is an individualized project-based course. Students will design their own projects, create proposals, assemble research and present them for discussion with the class. Depending on the scope of an idea, there should be at least 4 proposed projects for the semester. There will be group critiques at various intervals per project. Prerequisites for the course are a beginning level ceramics course based in hand building or wheel throwing, such as Beginning Ceramics, Ceramics Level 1 Wheel Throwing or Ceramics Level 1 Combined Methods. Non-SMFA students and MAT Art Education students will receive a letter grade.

Casting and Mold-making Kendall Reiss SCP-0135 4 SHU, Wednesday 9-1pm Open to all levels This course offers an introduction to the process of casting and mold making. The class will start with an introduction to ancient methods of metal casting using sand, cuttlefish bone, and the lost wax process. All aspects of these processes, from creating small sculptural forms in wax to simple carving and molding techniques, and centrifugal and vacuum casting will be covered. We will progress to alginate molds, one and

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two-part plaster molds for slip casting porcelain, and rubber molds, which can be used to cast a variety of materials including: rubber, concrete, plaster, salt, sugar, and chocolate. Development of designs and concepts will be fostered through group critiques and individual consultations with faculty. Visual presentations of examples of historic and contemporary work, exploration of local collections, and demonstrations will challenge students to explore the many ways casting can be used in a contemporary art context.

Shaping the Body Politic Erin Genia SCP-0136 4 SHU, Thursday, 9-1pm Intermediate Questions how our physical bodies are shaped by social and political forces and considers how the body functions as a location for the circulation of power, identity and resistance using clay as a medium. Employs various media, materials, and art-making processes. Prerequisites: Beginning Ceramics or equivalent recommended. Non-SMFA students and MAT Art Education students will receive a letter grade.

#activism #criticaltheory #decolonization #feminism #gendernonbinary #identity #materialprocess #performative #queertheory #racialjustice #socialpractice #thebody

Weaving: Concepts and Construction Samantha Fields SCP-0145 4 SHU, Thursday 9-1pm Open to all levels Studio/seminar that looks at 'over and under' as a means of structure and as a conceptual lens, exploring weaving as object, writing, record keeping, technology and intervention. Consider the long history of woven objects alongside contemporary artists, designers and crafts people, working out what this medium offers us today as makers and thinkers. Build a virtual, collective, interactive weaving of information bringing together: histories, mythologies, economics, science, environmental impact, technology, and identity politics to help us understand the complicated and intimate role cloth has and continues to play in human existence. Work on found looms, frame looms and backstrap looms and use traditional and non-traditional weaving materials and practices to develop a corporal knowledge of the techniques. All of these looms and practices have been happening for 20,000 years in domestic spaces and can happen in your bedroom or backyard. Class focused on using and creating wide and varied forms of research and hands on knowledge, no prior skills in either are necessary. Introductory class open to all levels. Non-SMFA students and MAT Art Education students will receive a letter grade.

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Radical Jewelry Makeover Tanya Crane SCP-0149 4 SHU, Monday 2-6pm Open to all levels Radical Jewelry Makeover is a community-based art project which raises awareness of environmental and social injustices within the jewelry industry while working to change habits of both jewelers and consumers.

Students will partner with Ethical Metalsmiths, a non-profit environmental advocacy group, the MFA Boston and the Boston jewelry community to source, re-imagine and exhibit jewelry. This course provides students with an opportunity to learn important skills necessary to create jewelry while also giving practical experience working in the professional art world. We will examine consumer culture, the mining industry and how artists are approaching their studio practices in the 21st century. #activism #autobiography #ecologies #economicjustice #feminism #gendernonbinary #healthandsustainability #identity #installation #materialprocess #multiples #narrative #performative #socialpractice #technology #thebody

Embodied Resistance Through Textile Practice Samantha Fields SCP-0151 4 SHU, Tuesday 9-1pm Intermediate-Advanced “What does it mean to imagine the sewing needle as a dangerous tool and to envision female collective textile making as a process that might upend conventions, threaten state structures, or wreak political havoc?”

–Julia Bryan-Wilson This studio/seminar will look at craft as a political and personal tool. How has fiber/textile practice acted as a form of resistance, protest and self-empowerment through-out history and in our current culture?

How can textile practice function as a means of subversion as well as self-care? How have community and empathy been created through the practices of sewing, knitting, crocheting, embroidery, dying and weaving? What does soft intervention into politicized realms look like; what kind of space can it create?

We will explore these questions through historical and contemporary research of community groups, artists and political movements, material studies, and student’s individual practice. This course will offer an introduction to multiple fiber techniques, as well the space for other hands on explorations. We will

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consider how to make space for our bodies and the practice of being present as part of our learning experience and art making, while living in a time of physical distancing and zoom.

Studio Seminar in Art and Technology Floor van de Velde SCP-0152 4 SHU, Friday 2-6pm Open to all levels This is a combined studio/seminar course focused on the intersection of art and technology to address the interconnected nature of art, technology, technique, and contemporary craft. Through lectures, readings, and workshops on related topics, students will acquire a familiarity with major movements and trends in contemporary art in which technology and/or technological change was a central concern, medium, or method. Students are expected to complete assignments determined by the instructor and will also work on a semester-long, personal project of their choosing. No prerequisites or experience required. Open to all levels and students working in any media.

Special Topics: Sculpture in Site / Studio Mags Harries SCP-0191 4 SHU, Wednesday 2-6pm Open to all levels Introduces students to the practice of site-specific sculpture, installation, environmental and public art and how these models of making artwork can be used in contemporary practice. Students will work site-specifically to research sites and their eco-systems, create proposals, drawings, scale models, prototypes, presentation drawings and to create a budget for a project and integrate these ideas into a final presentation. Preference is given to students who take VMS 0144 in tandem. #ecologies #installation #narrative #performative #publicart #thebody #timebased

Special Topics: Queer Studies Studio Betsy Redelman Diaz SCP-0191 4 SHU Section 1: Wednesday 9-1pm

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Section 2: Thursday 2-6pm Open to all levels This studio/seminar course explores queer as a form of art making. Considering the intersections of queerness with race, class, colonialism, and disability, Queer Studies Studio contemplates queerness as a way of seeing, thinking, and creating. Together, we will investigate topics related to queer futurity, abolitionist practices, failure, the body, the archive, drag, power, and resistance. Students will be invited to utilize various media, materials, processes, and subversion strategies as they grapple with the political nature of queerness, gender, and sexuality in their artwork. Discussions, readings and digital content will introduce artists such as: Jesús Valles, Judith Halberstam, Gloria Anzaldua, Kareem Khubchandani, Faye Driscoll, Nick Cave, Ellen Samuels, Cassils, Juliana Huxtable, and Janelle Monae, among others. This course’s focus is on inquiry and is open to students of all sexualities and skill levels.

#criticaltheory #decolonization #feminism #gendernonbinary #identity #performative #queertheory #racialjustice #thebody

Visual and Material Studies

Introduction to Visual and Material Studies Emily Gephart, Tina Wasserman, Claudia Mattos Avolese VMS-0001 3 SHU, Friday 10-12:30pm Open to all levels Familiarize art students with some of the questions, historical movements, and texts that enrich both the making and interpreting art today. Provides a rigorous study of some historical thinkers and concepts that have shaped the roles that visual culture and aesthetics play in society and the relationship between image and realities in ways that continue to resonate today. Above all, this course asks students to engage their own creative skills as writers, readers, thinkers, curators, and makers in response to visual, literary, historical, and theoretical concepts. Introductory course open to first year students. #criticaltheory

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Sculpture in Site: Land Art, Installation Art, and Public Art since 1960 Silvia Bottinelli VMS-0026 3 SHU, Wednesday 9-11:30am Open to all levels (Cross-listed with CVS 144) Installation, site-specific sculpture, and public art since 1960, offering insight into the relationship between the work of art and the environment in which it is installed. Place-making, addressing issues of inclusivity, representation, and public reception of monuments and memorials, public art, art and activism, social sculpture, and examples of community-based sculpture projects.

Neo-Noir and its Contexts Tina Wasserman VMS-0101 3 SHU, Monday 1:30-4pm Open to all levels (Cross-listed with FMS 74) This course will introduce the student to a group of historic American films produced between 1941 and 1958 that are often identified as "film noir." We compare this historic group of films with later incarnations of film noir, examining how this original historic body of work profoundly influenced a wide range of neo-noir practices. We will contextualize these films through broad historical, aesthetic and critical frameworks and analyze a range of common underlying themes and preoccupations including: the creation of a dark and brooding pessimism; the representation of the noir woman as a "femme fatale;" modernity, postmodernity, urbanism, postwar paranoia and anxiety, the existential impulse of noir, issues of race, gender and more. The work of such directors as Billy Wilder, Jules Dassin, Roman Polanski, Ridley Scott, David Lynch, Bill Duke, Rian Johnson, Christopher Nolan, Chan-wook Park, the Coen Brothers and more will be considered. #criticaltheory #feminism #narrative

Upending the Conquest: Literary, Visual and Material Studies Eulogio Guzman, Nina Gerassi-Navarro VMS-0150 3 SHU, Wednesday 9-11:30am Open to all levels

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Revisits many of the conquest narratives of the Americas to demythologize favored histories which distort the events perpetrated by conquistadors. These narratives favored a dominant, Eurocentric, colonial, male perspective. Topics such as the toppling of indigenous worlds at the hands of a few, exceptional men; the white conquistador; myth of desolation; and the end of Amerindian culture are challenged by reviewing recent scholarship, examining micro-ethnic, largely indigenous histories and analyzing alternative literacies presented in visual and material culture.

Imagining the Amazon: Art, Indigeneity and Activism Claudia Mattos Avolese VMS-0193-01 3 SHU, Tuesday & Thursday 10:30-11:45am

Course focuses on the visual culture produced in and around the Brazilian Amazon (1700-2021). Looks into the rich and diverse indigenous culture of the region and sets its history of confrontation with western culture, from the time of contact to present. Special attention given to contemporary indigenous Amazonian art especially considering alternative world views in which the Amerindian world is embedded. These inquiries have opened up new and important paths for considering such topics as global discourses on ecology and social justice.

Roots of Contemporary Art Emily Gephart VMS-0193-02 3 SHU, Monday 3-5:30pm Open to all levels Histories of art since 1945, with emphasis on forces shaping late 20th century practices. After mid-century, the ‘art world’ gradually became more heterogeneous and dispersed as artists around the globe responded to radically changing social, political, economic, and ecological conditions. Key movements reflected emerging technological concerns, new sites and new media. The course addresses models of centers/peripheries; activist art in the Civil Rights era, the counter-culture and the culture wars; experiments beyond the studio and gallery; performance, assemblage, installation and site-specificity; and the significance of conceptualism, feminism and environmental art. No prerequisites; open to all levels

Minor Capstone Research Seminar Silvia Bottinelli VMS-0199 3 SHU, Thursday 9-11:30am

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Advanced Allows students enrolled in the VMS Minor to pursue focused research in a specific subject selected by the student in consultation and under the guidance of VMS faculty. The seminar will help students develop their prospectus through a series of writing assignments, class discussions and reading assignments to define the theoretical framework; research parameters and methodologies; as well as establish the scholarly review of the research project to be written in the subsequent semester. Completion of this thesis document after enrollment in this seminar will satisfy the VMS capstone requirement.

Cross-disciplinary Draw & Print: Walls to Halls Charles Goss, Rhoda Rosenberg SMFA-0103 4 SHU, Wednesday 9-1pm All levels

Drawing and Print: From the Walls to The Halls is all about experimentation and transformation; opening new ways to think about what a drawing is and learning how drawing and printmaking share an amazing conversation. This team-taught course will introduce students to a new and exciting way of combining drawing with printmaking and beyond. As an on-line course, students will be given a series of provocative drawing projects. These projects range from simple line, shape and color studies to personal/public, identity and conceptual ideas. We will encourage the students to use any kinds of mark making tools they can find, both traditional and non-traditional tools are encouraged. As these drawings evolve, we will investigate a number of techniques in printmaking to transform them into various forms of print: monoprints, relief prints, collagraphs, digital prints and image transfer methods. We will conduct lectures, demonstrations and discussions on-line.

Our students will be able to draw, paint, collage and print where they live. We will have faculty presentations, scheduled group critiques and offer individual consultations. Open to all levels and especially for students who want to have fun.

Drawing for Sculpture John Ros SMFA-0121 2 SHU, Thursday 9-11am All levels

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Examines the basic elements that make up our three-dimensional world through investigations in space through drawing. Using simple materials expand awareness and observation of three-dimensional space and its relationships to the page. Traditional ideas of drawing are paired with conceptual research, developing practice and building connections across mediums. Practical and conceptual prompts will expand research and process. Explore two-dimensional drawings for three-dimensional thinking. Learn to translate ideas into fully-realized experiences. Open to all levels. #abstraction #documentary #identity #installation #materialprocess

Advanced Drawing and Text Anthony Romero SMFA-0122 4 SHU, Thursday, 9-1pm Advanced/Intermediate

Merges performance, writing and drawing practices and explores the ways in which mark making and drawing can be employed as a textual practice. Throughout the course students will be asked to encounter and research works of art that have explored writing as a means of marking time, space, history, and self.

Students can expect art historical readings to be paired with classroom discussion and studio practice.

Painting and Installation Patte Loper SMFA-0123 4 SHU, Tuesday 2-6pm Intermediate Exposes intermediate and advanced students focused on painting and drawing (or related media) to installation practices. Students use the classroom, individual studios, and the school at large as an experimental laboratory for developing site-specific and site-responsive work. Recommendations: Minimum of one introductory level painting course.

Writing for Artists Rick Moody 63

SMFA-0116 2 SHU, Tuesday 9-11am Advanced All disciplines Explore the intersections of writing and artmaking. From the creative to the critical, from the poetic to the persuasive, this practicum will hone the writing skills that artists need to develop their ideas and communicate effectively about their work. Text-based creative work, artist statements, proposals, project copy, reviews and critical responses will be addressed along with reading and discussion of historic and contemporary artists’ writings.

Creative and Professional Practices Ryan Smith SMFA-0195 2 SHU, Tuesday 2-4pm Advanced All disciplines Students will develop strategies and skills in finding professional opportunities as artists.

Topics will include resume/cv/cover letter/artist statement development, outreach and promotion of work, lectures from professionals in the art world working as artists or in museums, galleries, non-profits, arts education, production, advertising/design agencies and other areas in the creative sector. Students will complete the course with firm grasp on opportunity search strategies and improved professional networking ability. Open to SMFA Juniors, Seniors, and Graduate students. Classes will be conducted synchronously online.

COURSES SORTED BY HASHTAG #abstraction DIG-0102 The Art of the Fake Tuesday 2-6pm SMFA-0121 Drawing for Sculpture Thursday 9-11am MDIA-0060 Introduction to Sound Wednesday 2-6pm MDIA-0109 Visual Programming for Visual Thinkers Thursday 2-6pm PAI-0075 Intermediate Studio Seminar Monday 9-1pm PAI-0153 Abstraction and the Body Tuesday 9-1pm

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PAIM-0001 Landscape Painting Monday 9:30-12:20pm PAIM-0053 Intro to Painting Continued Friday 1:30-4:30pm PAIM-0054 Painting Foundation Sec 1: M/W, 7-10pm; Sec 2: T/R, 1:30-4:30pm PAIM-0055 Painting: Inter to Adv Monday and Wednesday, 1:30-4:30pm PER-0104 Props and Puppets Tuesday, 2-6pm PRT-0115 Big Print Tuesday 11-1pn, 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm

#activism SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm GRA-0114 Graphic Arts Toolbox Thursday, 11-1pm; 2-4pm GRA-0112 Creative Activism: Emerging Technologies Thursday, 6-8pm MDIA-0104 Video Installation Thursday 2-6pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PER-0104 Puppets and Performing Objects Tuesday, 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm

#autobiography DRW-0051 Intro To Figure Drawing Wednesday 9-1pm MDIA-0142 Animation 2 Thursday 9-1pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAI-0075 Intermediate Studio Seminar Monday 9-1pm PAI-0153 Abstraction and the Body Tuesday 9-1pm PAIM-0070 Contemporary Portrait Painting Friday 10-1pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0147 Intro to Large Format Photography Wednesday, 9-1pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm

#criticaltheory DIG-0102 The Art of the Fake Tuesday 2-6pm DIG-0150 Virtual Reality Monday 2-6pm DRWM-0026 Drawing: Foundation Sec 1: M/W 1:30-4:30pm; Sec 2: M/W 7-10pm; Sec 3: T/R 7-10pm MDIA-0104 Video Installation Thursday 2-6pm

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SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAIM-0053 Intro to Painting Continued Friday 1:30-4:30pm PAIM-0070 Contemporary Portrait Painting Friday 10-1pm PER-0104 Puppets and Performing Objects Tuesday, 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PHTM-0065 Photography and Computer Sec 1: T/R, 3-6pm; Sec 2: M/W, 3-6pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm PRT-0113 Replicas and Reproductions Monday 11-1pm 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0191 Special Topics: Queer Studies Studio Wednesday 9-1pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm VMS-001 Introduction to Visual and Material Studies Friday 10-12:30pm VMS-0101 Neo-Noir and its Contexts Monday 1:30-4pm

#decolonization SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm GRA-0114 Graphic Arts Toolbox Thursday, 11-1pm; 2-4pm GRA-0112 Creative Activism: Emerging Technologies Thursday, 6-8pm MDIA-0104 Video Installation Thursday 2-6pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAIM-0001 Landscape Painting Monday 9:30-12:20pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0191 Special Topics: Queer Studies Studio Wednesday 9-1pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm

#documentary SMFA-0121 Drawing for Sculpture Thursday 9-11am GRA-0114 Graphic Arts Toolbox Thursday, 11-1pm; 2-4pm MDIA-0001 Intro to Video Art Section 1: Tuesday 2-6pm; Section 2: Thursday 9-1pm MDIA-0103 Video Art & Narrative Wednesday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm MDIA-0163 Sound & Moving Image Monday 6-9pm PHT-0147 Intro to Large Format Photography Wednesday, 9-1pm PHTM-0065 Photography and Computer Sec 1: T/R, 3-6pm; Sec 2: M/W, 3-6pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm

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MDIA-0104 Video Installation Thursday 2-6pm PAI-0110 Flora and Fauna Wednesday 2-6pm PER-0104 Props and Puppets Tuesday, 2-6pm PRT-0102 Introduction to Hand Papermaking Tuesday 2-6pm PRT-0109 Exploring Paper Thursday 9-1pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm SCP-0191 Special Topics: Sculpture in Site / Studio Wednesday 2-6pm

#economicjustice SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAIM-0054 Painting Foundation Sec 1: M/W, 7-10pm; Sec 2: T/R, 1:30-4:30pm PAIM-0055 Painting: Inter to Adv Monday and Wednesday, 1:30-4:30pm PER-0104 Props and Puppets Tuesday, 2-6pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm

#environmentaljustice MDIA-0104 Video Installation Thursday 2-6pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAIM-0001 Landscape Painting Monday 9:30-12:20pm PAIM-0054 Painting Foundation Sec 1: M/W, 7-10pm; Sec 2: T/R, 1:30-4:30pm PAIM-0055 Painting: Inter to Adv Monday and Wednesday, 1:30-4:30pm PER-0104 Props and Puppets Tuesday, 2-6pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm

#feminism MDIA-0103 Video Art & Narrative Wednesday 2-6pm MDIA-0104 Video Installation Thursday 2-6pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAIM-0054 Painting Foundation Sec 1: M/W, 7-10pm; Sec 2: T/R, 1:30-4:30pm PAIM-0055 Painting: Inter to Adv Monday and Wednesday, 1:30-4:30pm PAIM-0070 Contemporary Portrait Painting Friday 10-1pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm

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SCP-0149 Radical Jewelry Makeover Monday 2-6pm SCP-0191 Special Topics: Queer Studies Studio Wednesday 9-1pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm VMS-0101 Neo-Noir and its Contexts Monday 1:30-4pm

#futurism DIG-0102 The Art of the Fake Tuesday 2-6pm DIG-0150 Virtual Reality Monday 2-6pm GRA-0112 Creative Activism: Emerging Technologies Thursday, 6-8pm MDIA-0109 Visual Programming for Visual Thinkers Thursday 2-6pm PAIM-0053 Intro to Painting Continued Friday 1:30-4:30pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm

#gendernonbinary SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAIM-0054 Painting Foundation Sec 1: M/W, 7-10pm; Sec 2: T/R, 1:30-4:30pm PAIM-0055 Painting: Inter to Adv Monday and Wednesday, 1:30-4:30pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm SCP-0191 Special Topics: Queer Studies Studio Wednesday 9-1pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm

#healthandsustainability SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm PER-0104 Props and Puppets Tuesday, 2-6pm PRT-0102 Introduction to Hand Papermaking Tuesday 2-6pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm

#humor MDIA-0001 Intro to Video Art Tuesday 2-6pm

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MDIA-0142 Animation 2 Thursday 9-1pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAIM-0053 Intro to Painting Continued Friday 1:30-4:30pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PHT-0110 Photography after the Internet Tuesday 6-9pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm PRT-0112 Games and Strategies Tuesday 11-1pm, 2-4pm PRT-0115 Big Print Tuesday 11-1pn, 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0101 Object a Week Tuesday, 9-1pm

#identity SMFA-0121 Drawing for Sculpture Thursday 9-11am SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm MDIA-0001 Intro to Video Art Tuesday 2-6pm MDIA-0103 Video Art & Narrative Wednesday 2-6pm MDIA-0104 Video Installation Thursday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAI-0075 Intermediate Studio Seminar Monday 9-1pm PAIM-0054 Painting Foundation Sec 1: M/W, 7-10pm; Sec 2: T/R, 1:30-4:30pm PAIM-0055 Painting: Inter to Adv Monday and Wednesday, 1:30-4:30pm PAIM-0070 Contemporary Portrait Painting Friday 10-1pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0110 Photography after the Internet Tuesday 6-9pm PHTM-0065 Photography and Computer Sec 1: T/R, 3-6pm; Sec 2: M/W, 3-6pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm SCP-0191 Special Topics: Queer Studies Studio Wednesday 9-1pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm

#illustration GRA-0114 Graphic Arts Toolbox Thursday, 11-1pm; 2-4pm MDIA-0142 Animation 2 Thursday 9-1pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAI-0110 Flora and Fauna Wednesday 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm PRT-0115 Big Print Tuesday 11-1pn, 2-4pm

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#installation SMFA-0121 Drawing for Sculpture Thursday 9-11am SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm MDIA-0060 Introduction to Sound Wednesday 2-6pm MDIA-0104 Video Installation Thursday 2-6pm MDIA-0109 Visual Programming for Visual Thinkers Thursday 2-6pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PRT-0115 Big Print Tuesday 11-1pn, 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm SCP-0191 Special Topics: Sculpture in Site / Studio Wednesday 2-6pm

#materialprocess DRW-0018 Intro to Drawing: Intensive Section 1: Monday 9-1pm; Section 2: Wednesday 2-6pm DRW-0051 Intro To Figure Drawing Wednesday 9-1pm SMFA-0121 Drawing for Sculpture Thursday 9-11am SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm DRWM-0026 Drawing: Foundation Sec 1: M/W 1:30-4:30pm; Sec 2: M/W 7-10pm; Sec 3: T/R 7-10pm GRA-0114 Graphic Arts Toolbox Thursday, 11-1pm; 2-4pm GRA-0183 Artists’ Books Today Friday 11-1pm; 2-4pm MDIA-0104 Video Installation Thursday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm PAI-0075 Intermediate Studio Seminar Monday 9-1pm PAI-0153 Abstraction and the Body Tuesday 9-1pm PAIM-0001 Landscape Painting Monday 9:30-12:20pm PAIM-0053 Intro to Painting Continued Friday 1:30-4:30pm PAIM-0054 Painting Foundation Sec 1: M/W, 7-10pm; Sec 2: T/R, 1:30-4:30pm PAIM-0055 Painting: Inter to Adv Monday and Wednesday, 1:30-4:30pm PER-0104 Props and Puppets Tuesday, 2-6pm PRT-0101 Repetition and Pattern Thursday, 11-1pm, 2-4pm PRT-0102 Introduction to Hand Papermaking Tuesday 2-6pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm PRT-0109 Exploring Paper Thursday 9-1pm PRT-0112 Games and Strategies Tuesday 11-1pm, 2-4pm PRT-0113 Replicas and Reproductions Monday 11-1pm 2-4pm PRT-0115 Big Print Tuesday 11-1pn, 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0101 Object a Week Tuesday, 9-1pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm

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#multiples GRA-0114 Graphic Arts Toolbox Thursday, 11-1pm; 2-4pm GRA-0183 Artists’ Books Today Friday 11-1pm; 2-4pm MDIA-0104 Video Installation Thursday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAI-0153 Abstraction and the Body Tuesday 9-1pm PAIM-0053 Intro to Painting Continued Friday 1:30-4:30pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PHT-0147 Intro to Large Format Photography Wednesday, 9-1pm PRT-0101 Repetition and Pattern Thursday, 11-1pm, 2-4pm PRT-0102 Introduction to Hand Papermaking Tuesday 2-6pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm PRT-0109 Exploring Paper Thursday 9-1pm PRT-0112 Games and Strategies Tuesday 11-1pm, 2-4pm PRT-0113 Replicas and Reproductions Monday 11-1pm 2-4pm PRT-0115 Big Print Tuesday 11-1pn, 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0101 Object a Week Tuesday, 9-1pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm

#narrative SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm DRW-0018 Intro to Drawing: Intensive Section 1: Monday 9-1pm; Section 2: Wednesday 2-6pm DRWM-0026 Drawing: Foundation Sec 1: M/W 1:30-4:30pm; Sec 2: M/W 7-10pm; Sec 3: T/R 7-10pm MDIA-0001 Intro to Video Art Tuesday 2-6pm MDIA-0060 Introduction to Sound Wednesday 2-6pm MDIA-0103 Video Art & Narrative Wednesday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm MDIA-0163 Sound & Moving Image Monday 6-9pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAI-0075 Intermediate Studio Seminar Monday 9-1pm PAI-0110 Flora and Fauna Wednesday 2-6pm PAIM-0001 Landscape Painting Monday 9:30-12:20pm PAIM-0053 Intro to Painting Continued Friday 1:30-4:30pm PAIM-0055 Painting: Inter to Adv Monday and Wednesday, 1:30-4:30pm PAIM-0070 Contemporary Portrait Painting Friday 10-1pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0147 Intro to Large Format Photography Wednesday, 9-1pm

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PHTM-0065 Photography and Computer Sec 1: T/R, 3-6pm; Sec 2: M/W, 3-6pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm PRT-0115 Big Print Tuesday 11-1pn, 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0101 Object a Week Tuesday, 9-1pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm SCP-0191 Special Topics: Sculpture in Site / Studio Wednesday 2-6pm VMS-0101 Neo-Noir and its Contexts Monday 1:30-4pm

#performative SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm GRA-0114 Graphic Arts Toolbox Thursday, 11-1pm; 2-4pm MDIA-0001 Intro to Video Art Tuesday 2-6pm MDIA-0060 Introduction to Sound Wednesday 2-6pm MDIA-0104 Video Installation Thursday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm MDIA-0147 The Naturalist Animator Tuesday 2-6pm MDIA-0163 Sound & Moving Image Monday 6-9pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAI-0153 Abstraction and the Body Tuesday 9-1pm PER-0104 Props and Puppets Tuesday, 2-6pm PRT-0112 Games and Strategies Tuesday 11-1pm, 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0101 Object a Week Tuesday, 9-1pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm SCP-0191 Special Topics: Sculpture in Site / Studio Wednesday 2-6pm SCP-0191 Special Topics: Queer Studies Studio Wednesday 9-1pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm

#portraiture DRW-0051 Intro To Figure Drawing Wednesday 9-1pm DRW-0018 Intro to Drawing: Intensive Section 1: Monday 9-1pm; Section 2: Wednesday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm PAI-0153 Abstraction and the Body Tuesday 9-1pm PAIM-0055 Painting: Inter to Adv Monday and Wednesday, 1:30-4:30pm PAIM-0070 Contemporary Portrait Painting Friday 10-1pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0147 Intro to Large Format Photography Wednesday, 9-1pm PHTM-0065 Photography and Computer Sec 1: T/R, 3-6pm; Sec 2: M/W, 3-6pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm

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#publicart SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm GRA-0114 Graphic Arts Toolbox Thursday, 11-1pm; 2-4pm MDIA-0104 Video Installation Thursday 2-6pm PER-0104 Props and Puppets Tuesday, 2-6pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0191 Special Topics: Sculpture in Site / Studio Wednesday 2-6pm

#queertheory SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm MDIA-0104 Video Installation Thursday 2-6pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0191 Special Topics: Queer Studies Studio Wednesday 9-1pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm

#racialjustice SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm MDIA-0103 Video Art & Narrative Wednesday 2-6pm MDIA-0104 Video Installation Thursday 2-6pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAIM-0054 Painting Foundation Sec 1: M/W, 7-10pm; Sec 2: T/R, 1:30-4:30pm PAIM-0055 Painting: Inter to Adv Monday and Wednesday, 1:30-4:30pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0191 Special Topics: Queer Studies Studio Wednesday 9-1pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm

#socialpractice SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm GRA-0114 Graphic Arts Toolbox Thursday, 11-1pm; 2-4pm

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GRA-0112 Creative Activism: Emerging Technologies Thursday, 6-8pm MDIA-0103 Video Art & Narrative Wednesday 2-6pm MDIA-0104 Video Installation Thursday 2-6pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAIM-0001 Landscape Painting Monday 9:30-12:20pm PER-0104 Puppets and Performing Objects Tuesday, 2-6pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm PRT-0112 Games and Strategies Tuesday 11-1pm, 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm

#technology DIG-0102 The Art of the Fake Tuesday 2-6pm DIG-0150 Virtual Reality Monday 2-6pm SMFA-0001 First Year Program Section 1: Monday 9-11am; Section 2: Friday 2-4pm GRA-0112 Creative Activism: Emerging Technologies Thursday, 6-8pm MDIA-0001 Intro to Video Art Tuesday 2-6pm MDIA-0060 Introduction to Sound Wednesday 2-6pm MDIA-0104 Video Installation Thursday 2-6pm MDIA-0109 Visual Programming for Visual Thinkers Thursday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm MDIA-0163 Sound & Moving Image Monday 6-9pm PAIM-0053 Intro to Painting Continued Friday 1:30-4:30pm PHT-0110 Photography after the Internet Tuesday 6-9pm PHTM-0065 Photography and Computer Sec 1: T/R, 3-6pm; Sec 2: M/W, 3-6pm PRT-0101 Repetition and Pattern Thursday, 11-1pm, 2-4pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm PRT-0113 Replicas and Reproductions Monday 11-1pm 2-4pm PRT-0115 Big Print Tuesday 11-1pn, 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm

#textandimage GRA-0114 Graphic Arts Toolbox Thursday, 11-1pm; 2-4pm GRA-0112 Creative Activism: Emerging Technologies Thursday, 6-8pm GRA-0183 Artists’ Books Today Friday 11-1pm; 2-4pm MDIA-0109 Visual Programming for Visual Thinkers Thursday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm

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PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PHT-0110 Photography after the Internet Tuesday 6-9pm PHTM-0065 Photography and Computer Sec 1: T/R, 3-6pm; Sec 2: M/W, 3-6pm PRT-0101 Repetition and Pattern Thursday, 11-1pm, 2-4pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm PRT-0115 Big Print Tuesday 11-1pn, 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm

#thebody DRW-0051 Intro To Figure Drawing Wednesday 9-1pm MDIA-0001 Intro to Video Art Tuesday 2-6pm MDIA-0104 Video Installation Thursday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAI-0153 Abstraction and the Body Tuesday 9-1pm PAIM-0070 Contemporary Portrait Painting Friday 10-1pm PER-0104 Props and Puppets Tuesday, 2-6pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0149 Radical Jewelry Makeover Monday 2-6pm SCP-0191 Special Topics: Sculpture in Site / Studio Wednesday 2-6pm SCP-0191 Special Topics: Queer Studies Studio Wednesday 9-1pm SCP-0145 Shaping the Body Politic Thursday, 9-1pm

#theimaginary DIG-0102 The Art of the Fake Tuesday 2-6pm DIG-0150 Virtual Reality Monday 2-6pm DRW-0051 Intro To Figure Drawing Wednesday 9-1pm DRW-0018 Intro to Drawing: Intensive Section 1: Monday 9-1pm; Section 2: Wednesday 2-6pm MDIA-0104 Video Installation Thursday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAI-0075 Intermediate Studio Seminar Monday 9-1pm PAI-0110 Flora and Fauna Wednesday 2-6pm PAIM-0001 Landscape Painting Monday 9:30-12:20pm PAIM-0053 Intro to Painting Continued Friday 1:30-4:30pm PAIM-0070 Contemporary Portrait Painting Friday 10-1pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0109 Media Culture Now Monday 9-1pm PHT-0110 Photography after the Internet Tuesday 6-9pm PRT-0107 Driving in Reverse: Print History Wednesday 11-1pm, 2-4pm

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PRT-0115 Big Print Tuesday 11-1pn, 2-4pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm

#timebased DIG-0150 Virtual Reality Monday 2-6pm MDIA-0001 Intro to Video Art Tuesday 2-6pm MDIA-0060 Introduction to Sound Wednesday 2-6pm MDIA-0103 Video Art & Narrative Wednesday 2-6pm MDIA-0104 Video Installation Thursday 2-6pm MDIA-0109 Visual Programming for Visual Thinkers Thursday 2-6pm MDIA-0142 Animation 2 Thursday 9-1pm MDIA-0163 Sound & Moving Image Monday 6-9pm PAIM-0001 Landscape Painting Monday 9:30-12:20pm PER-0104 Props and Puppets Tuesday, 2-6pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm SCP-0101 Object a Week Tuesday, 9-1pm SCP-0191 Special Topics: Sculpture in Site / Studio Wednesday 2-6pm

#utopia DIG-0150 Virtual Reality Monday 2-6pm MDIA-0060 Introduction to Sound Wednesday 2-6pm SMFA-0112 Socially Engaged Art Wednesday 9-1pm PAI-0110 Flora and Fauna Wednesday 2-6pm PER-0104 Props and Puppets Tuesday, 2-6pm PHT-0110 Photography after the Internet Tuesday 6-9pm PRT-0116 Advanced Print: Special Projects Wednesday 11-1pm, 2-4pm

CONTACT INFORMATION For questions regarding academic advising, contact SMFAAdvising@tufts.edu For questions regarding registration, contact studentservices@tufts.edu / (617) 627-2000

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For more information about a specific course, contact the faculty:

Abrams

Danielle

danielle.abrams@tufts.edu

Antonio Cruz

David

david.cruz@tufts.edu

Arthur

Daphne

daphne.arthur@tufts.edu

Arnias

Luis

luis.arnias@tufts.edu

Barsanti

Michael

michael.barsanti@tufts.edu

Bassel

Milcah

milcah.bassel@tufts.edu

Bottinelli

Silvia

silvia.bottinelli@tufts.edu

Brodell

Ria

ria.brodell@tufts.edu

Brown

Lizi

lizi.brown@tufts.edu

Burke

Bill

william.burke@tufts.edu

Carter

Patrick

Patrick.carter@tufts.edu

Cea

Cristobal

cristobal.cea@tufts.edu

Conlon

Kate

kate.conlon@tufts.edu

Crane

Tanya

tanya.crane@tufts.edu

de Rosas

Eileen

eileen.de_rosas@tufts.edu

Donohue

Bonnie

bonnie.donohue@tufts.edu

Erdelyi-Perez

Maya

maya.erdelyi_perez@tufts.edu

Fields

Samantha

samantha.fields@tufts.edu

Finnegan

Katharine

Katharine.finnegan@tufts.edu

Fischman

Laura

laura.fischman@tufts.edu

Freeman

Nan

nan.freeman@tufts.edu

Frenzer

Joel

joel.frenzer@tufts.edu

Friedman

Georgie

georgie.friedman@tufts.edu

Furst

Kay

kay.furst@tufts.edu

Genia

Erin

erin.genia@tufts.edu

Gephart

Emily

emily.gephart@tufts.edu

77

Gerassi-Navarro Nina

nina.gerassi_navarro@tufts.edu

Gillooly

Jane

Jane.gillooly@tufts.edu

Glover

Sean

nicholas.glover@tufts.edu

Goss

Charles

charles.goss@tufts.edu

Graham

Dan

dan.graham@tufts.edu

Gualdoni

Angelina

angelina.gualdoni@tufts.edu

Guertin

Justin

justin.guertin@tufts.edu

Guzman

Eulogio

eulogio.guzman@tufts.edu

Hamboussi

Anthony

anthony.hamboussi@tufts.edu

Harries

Mags

mags.harries@tufts.edu

Harrison

Nate

nate.harrison@tufts.edu

Harrison

Anne

anne.harris@tufts.edu

Heder

Thyra

thyra.heder@tufts.edu

Hlynsky

Andrew

andrew.hlynsky@tufts.edu

Hou

Boyang

boyang.hou@tufts.edu

Hull

Kata

kata.hull@tufts.edu

Jay

Dan

Daniel.jay@tufts.edu

Kamentsky

Gina

gina.kamentsky@tufts.edu

Life

Justin

justin.life@tufts.edu

Loper

Patte

patte.loper@tufts.edu

Lundsager

Eva

eva.lundsager@tufts.edu

Lyman

Mela

mela.lyman@tufts.edu

MacIntyre

Tom

tom.macintyre@tufts.edu

MacMahon

Michael

Michael.macmahon@tufts.edu

Mandel

Mike

Michael.mandel@tufts.edu

Mattos Avolese

Claudia

Claudia.avolese@tufts.edu

McDonald

Emily

emily.mcdonald@tufts.edu

McMillan

Karmimadeebora karmimadeebora.mcmillan@tufts.edu

78

McMillan

Megan

megan.mcmillan@tufts.edu

Mencoff

Greg

greg.mencoff@tufts.edu

Metcalf

Mara

mara.metcalf@tufts.edu

Mobley

Triton

triton.mobley@tufts.edu

Moody

Rick

rick.moody@tufts.edu

Moridpour

Neda

neda.moridpour@tufts.edu

Mozman Solano Rachelle

rachelle.mozman_solano@tufts.edu

Mukii

Ng'endo

ngendo.mukii@tufts.edu

Munson

Jennifer

jennifer.munson@tufts.edu

Murrow

Ethan

ethan.murrow@tufts.edu

Muskat

Carolyn

carolyn.muskat@tufts.edu

Nakadate

Laurel

laurel.nakadate@tufts.edu

Oakley

Be

be.oakley@tufts.edu

Ohsawa

Asuka

asuka.ohsawa@tufts.edu

Page

Paola

paola.page@tufts.edu

Ralske

Kurt

kurt.ralske@tufts.edu

Redelman Diaz

Betsy

betsy.redelman@tufts.edu

Reese

Laura Beth

laura.reese@tufts.edu

Reiss

Kendall

kendall.reiss@tufts.edu

Romero

Anthony

Anthony.romero@tufts.edu

Ros

John

john.ros@tufts.edu

Rosenberg

Rhoda

Rhoda.rosenberg@tufts.edu

Schaefer

Sandrine

sandra.schaefer@tufts.edu

Schmidt

Jennifer

Jennifer.schmidt@tufts.edu

Shozawa

Katherine

katherine.shozawa@tufts.edu

Scott

Peter

peter.scott@tufts.edu

Smith

Ryan

ryan.smith@tufts.edu

Smoot

Michael

michael.smoot@tufts.edu

79

Strom

Mary Ellen

mary_ellen.strom@tufts.edu

van de Velde

Floor

floor.van_de_velde@tufts.edu

Wasserman

Tina

tina.wasserman@tufts.edu

Zakari

Chantal

Chantal.zakari@tufts.edu

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