SMFA at Tufts Spring 2021 Course Catalog

COU RS E S C H E DU LE SPRING 2021

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This format is designed to offer students: MORE COLLABORATIVE TEACHING

NATE HARRI S O N Dean of Faculty

As a “new normal” seems to have taken hold for the foreseeable future, the faculty as SMFA felt it imperative that they press on and continue to offer courses that respond to the moment. New selections include socially engaged art, virtual exhibition thesis show design and planning, de-colonizing interventions into art works situated around the Medford campus, art and ecology, and “Future Techno Imaginaries.” These and other classes will continue to be taught online while students work in their studios and in the various facilities around campus. We trust that the courses will further provoke critical thought and new ways of thinking about art as an urgent change agent. Of course, having some fun along the way is also strongly encouraged!

In several instances, courses have been redesigned or thought entirely anew to include two (or more!) faculty per course. As a result, students will gain expanded understanding of a particular topic or technique as it is delivered from multiple viewpoints.

We believe different perspectives or approaches will only help students in the development of nuanced perceptions of the world around them.

INCREASED ONE-ON-ONE INTERACTIONS WITH FACULTY

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Courses with more than one teacher will also allow for more customized and intimate conversations with students individually. In turn, students will get to know more faculty members, which will be of great benefit during the SMFA experience and beyond.

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OPPORTUNITIES TO WORK IN SMALL GROUPS

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The ability for students to “break out” into smaller groups within the online class format means that there will be increased opportunity for cohort-building.

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A RANGE OF COMMUNITY-WIDE PROGRAMS

Given the asynchronous nature of much of the Fall 2020 curriculum, artist talks, SMFA Library Programs, and Career Center events will be even more accessible. Additionally, weekly pre-recorded lectures across several areas of the school will be available to all students.

In sum, we offer here an exceptional educational experience that is not to be missed—one that students can rely on being successful regardless of the epidemiological situation in the spring.

SPRING 2021

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ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENT IN INCOMPATIBLE TIME ZONES

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4 SHU Studio Art courses are 4-hour blocks work expectation is a minimum of 12 hours invested per week 4-hour block + 8 hours of course work 2 SHU Studio Art courses are 2-hour blocks work expectation is a minimum of 6 hours invested per week 2-hour block + 4 hours of course work

SMFA

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4 COURSE TIMES LISTED IN EASTERN STANDARD TIME (EST)

Monday

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9 AM - 1 PM

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9 AM - 11 AM

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11 AM - 1 PM

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2 PM - 6 PM

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2 PM - 4 PM

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4 PM - 6 PM

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6 PM - 10 PM 6 PM - 8 PM 8 PM - 10 PM

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ALL COURSES REQUIRE SYNCHRONOUS CLASS MEETINGS Select courses note that accommodations may be possible for students in incompatible time zones.

Contact the course instructor for more information.

SPRING 2021 <<<< CLICK TO RETURN BACK TO THIS PAGE

3

Guided Studies

SMFA-0203 Graduate Individual Critiques SMFA-0205 Graduate Group Critiques SMFA-0293 Artists and Curatorial Practice

SMFA-0191 Post Bac Seminar SMFA-0192 Post Bac Consultations SMFA-0093 Senior Thesis SMFA-0001 First Year Program SMFA-0070 Undergraduate Internship SMFA-0270 Graduate Internship

SPRING 2021

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THE Tuesday GRADUATE PROGRAM EDS

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Monday E T H A N MURROW 2 - 5 pm

6 pm - 9 pm MEGAN M C M I L L A N 7 pm - 10 pm RACHELLE MOZMAN-SOLANO

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GRADUATE 3 INDIVIDUAL CRITIQUE

SHU

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GRADUATE GROUP CRITIQUE

Friday TBA 9 am - 12 pm

3 ARTISTS & CURATORIAL PRACTICE Skills and strategies for post-graduate careers. Topics include proposals, grant and statement writing, documentation, outreach and promotion of work, speaking and lecture skills, teaching-related professional development, community building strategies, approaches to independent and collaborative curatorial projects.

Group critiques will provide an opportunity to refine language and writing skills.

SPRING 2021

SHU

6 pm - 9 pm DANIE L L E A B R A M S

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 studentâ&#x20AC;&#x2122;s needs. Students will take this course for credit as an alternative to the grad group critique.

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3

Thursday

SHU

This course is designed to build and develop the verbal and written articulation critique skills among the first and second yeargraduate 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 studentâ&#x20AC;&#x2122;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 ACCOMMODATIONS their thesis. All first and second year Master of Fine Arts students MAY BE POSSIBLE FOR STUDENT are required to take this course each semester.

IN INCOMPATIBLE TIME ZONES

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THE POST-BAC PROGRAM Friday Friday EDS

K A R M I M A D E E B O R A MCMILLAN 10 am - 12 pm

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POSTBACCALAUREATE SEMINAR 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 semesterâ&#x20AC;&#x2122;s content.

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2 pm - 4 pm KARMI M A D E E B O R A M C M I L L A N

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POSTBACCALAUREATE CONSULTATIONS

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SHU

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 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.

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENT IN INCOMPATIBLE TIME ZONES

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SENIOR THESIS

RIA BRODELL MARLA MCLEOD KENDALL REISS

Senior Thesis provides a platform for the development of an ongoing independent art practice. The 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 is required throughout the year, and 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 will concentrate on formal concept-based research and writing exercises, to support the development of an independent body of work. As a class, we will 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; SPRING 2021

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 art-making, as well as make connections between art and other intellectual and creative practices.

The emphasis in the Spring semester shifts to thesis production and the development of various professional practices, including writing about and formally presenting your work. The Spring semester culminates in the Senior Thesis Exhibition, towards which students are required to work in planning, development, marketing, catalogue development, as well as building and installation of the exhibition.

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

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9 am - 1 pm

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Monday

Friday INTRO

MICHAEL BARSANTI TANYA CRANE

SALLY LEE

SALLY LEE

MAYA ERDELYI-PEREZ

KATA HULL

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FIRST YEAR PROGRAM

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 artistsâ&#x20AC;&#x2122; 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.

SPRING 2021

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9 am - 11 am

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2 pm - 4 pm

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RYAN SMITH

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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.

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.

ACCOMMODATIONS MAYreBE POSSIBLE Prerequisite: one year of study and no fewer than two remaining FOR STUDENT view boards prior to graduation. Transfer students must consult with AcaIN INCOMPATIBLE demic Affairs to determine eligibility.

TIME ZONES

UNDERGRADUATE INTERNSHIP

SPRING 2021

GRADUATE INTERNSHIP

9

9

Monday

SMFA-0114 GRA-0193 DRW-0067 MDIA-0145 PAI-0075 PHT-0112 SCP-0147 SMFA-0118 PRT-0193 PAI-0193 PAI-0121 PHT-0102 VMS-0193 DIG-0150 DRW-0018 MDIA-0060 SCP-0030 SMFA-0162 EDS-0122 PAI-0019 ENGS-0001

Wednesday

Virtual Art Spaces 2021 9-11 Directed Study in Graphic Arts 9-11 Altered Landscapes 9-1 Character Animation 9-1 Intermediate Studio Seminar 9-1 Digital Photo: History & Practice 9-1 Future Techno Imaginaries 9-1 ReThink, ReMake, ReUse 9-1 Publishing Now 11-1, 2-4 pm Directed Study in Painting 2-4 Beginning Painting 2-4 The Photographic Book 2-4 Cultivating Ecologies 2-4:30 Virtual Reality 2-6 Intro to Drawing Intensive [Sec. 1] 2-6 Introduction to Sound 2-6 Intro to 3D Strategies 2-6 Art and Ecology 2-6 Art Ed. w/Special Populations, 5:30-8:30pm Intro to Abstraction: Flatlands 6-8pm English 1, 7:30-8:45pm

PER-0191 GRA-0191 VMS-0193 PAI-0003 PAI-0172 SCP-0148 MDIA-0112 PHT-0107 SMFA-0103 SMFA-0119 DRW-0193 SCP-0107 SMFA-0115 SMFA-0120 DRW-0018 MDIA-0001 PRT-0166 MDIA-0163 ENGS-0001

Styles of Live Art 9-11 Creative Activism in Emerging Tech 9-11 Contemporary Art: 2000 to Now 9:30-12 Introduction to Painting [Sec. 1] 9-1 Intermediate Portrait Painting 9-1 Relational Placemaking 9-1 Mother 9-1 Mother 9-1 Drawing to Print: Halls to Walls 9-1 Flyers and Zines 11-1, 2-4 Directed Study in Drawing 2-4 Narrative Projects 2-6 Decolonizing Our Walls 2-6 Beginning 3D Modeling 2-6 Intro to Drawing Intensive [Sec. 2] 2-6 Intro to Video Art 2-6 Int/Adv Projects in Paper/Print 6-8 Sound & Moving Image 6-9 English 1, 7:30-8:45pm

Tuesday

SPRING 2021

SMFA-0116 DRW-0124 SMFA-0108 MDIA-0141 PAI-0099 PHT-0144 PRT-0163 MDIA-0124 PRT-0180 VMS-0193 ENGS-0001 MDIA-0127 MDIA-0109 PER-0158 PHT-0150 VMS-0002 PAI-0019 PRT-0165 SCP-0193 SMFA-0195 PHT-0193

Friday

Writing for Artists 9-11 Intermediate Figure Drawing 9-1 Open Studio 9-1 Animation 1 9-1 Material Meaning 9-1 Socially Engaged Art 9-1 Papermaking: Test Kitchen 9-1 Appropriation Art 11-1 Redrawing Realities, Social Action 11-1 Redrawing Realities, Social Action 11-1 English 1, 12:30-1:45 Directed Study: Media Arts 2-4:30 Visual Programming for Visual Thinkers 2-6 Performance and Painting 2-6 Portraiture & the Self 2-6 Intro to Western Art 3-4:15 Intro to Abstraction: Flatlands 4-6pm Home Strategies: The Sequel 6-8 Directed Study 6-8 Creative & Professional Practices 6-8 Directed Study: Photography 6-9

DRW-0132 Advanced Drawing Dialogues 9-1 GRA-0191 Creative Activism in Emerging Tech 9-11

PAI-0005 Intro to Observational Painting 9-1 MDIA-0106 Intro to Film (& Video) 9-1 MDIA-0146 Animation Integration 9-1 PHT-0109 Media Culture Now 9-1

PHT-0118 Intermediate Photography 9-1 SCP-0146 Digital Fabrication Studio 9-1 VMS-0020 Interpreting Art 10-12:30 GRA-0183 Artistsâ&#x20AC;&#x2122; Books Today 11-1, 2-4 VMS-0193 Decolonizing the Academy

T hursday

PHT-0145 DIG-0102 MDIA-0191 PAI-0003 PHT-0149 SCP-0151 VMS-0091 MDIA-0147 DRW-0013 PRT-0180 VMS-0193 GRA-0179 ENGS-0001 VMS-0100 DRW-0013 DRW-0114 MDIA-0104 SMFA-0117 VMS-0002 PRT-0165 SMFA-0121 PHT-0108 SMFA-0107

Directed Study: Art & Social Justice 9-11 The Art of the Fake 9-1 Public as an Art Form 9-1 Introduction to Painting 9-1 Image, Narrative, & Psychoanalysis 9-1 Embodied Resistance Through Textile Practice 9-1 Dialogues in Contemporary Film and Sculpture 9:30-12 The Naturalist Animator 10-12, 2-4 Intro to Drawing Studio [Sec. 1] 11-1 Redrawing Realities, Social Action 11-1 Redrawing Realities, Social Action 11-1 History & Politics of Typography 11-1, 2-4 English 1, 12:30-1:45 History and Aesthetics in Hitchcock 1:30-4 Intro to Drawing Studio [Sec. 2] 2-4 Representation and Narrative 2-6 Video Installation 2-6 Visual Politics 2-6 Intro to Western Art 3-4:15 Home Strategies: The Sequel 6-8 Drawing for Sculpture 6-8 Still Life Photography 6-10 Performance as Sculpture 2-6

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C REATIVE ACTIVIS M IN EMERGING TECHNOLO GIES

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PUBLIC AS A N A RT FO RM

JULES S I E V E R T

T hursday

9 am - 1 pm

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INTRO TO OBSERVATIONAL PAINTING

DAPHN E A R T H U R

Friday

9 am - 1 pm

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INTRO TO ABSTRACTION

SEC 1: DA P H N E A R T H U R SEC 2: DA P H N E A R T H U R

Tuesday Monday

4 pm - 6 pm 6 pm - 8 pm

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B EGINNING PAINTING

DAVID C R U Z

Monday

2 pm - 4 pm

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PUBLIS HING NOW

BE OA K L E Y

Monday

11 am - 1 pm 2 pm - 4 pm

SPRING 2021

Tuesday T hursday Wednesday Friday

7:30 - 8:45 pm 12:30 - 1:45 pm

9 am - 11 am

Monday

SMFA-0114 Virtual Art Spaces 2021 9-11 GRA-0193 Directed Study in Graphic Arts 9-11

DRW-0067 Altered Landscapes 9-1

MDIA-0145 Character Animation 9-1

PAI-0075 Intermediate Studio Seminar 9-1

PHT-0112 Digital Photo: History & Practice 9-1

SCP-0147 Future Techno Imaginaries 9-1

SMFA-0118 ReThink, ReMake, ReUse 9-1

PAI-0193 Directed Study in Painting 2-4

PHT-0102 The Photographic Book 2-4

VMS-0193 Cultivating Ecologies: Art & Environment 2-4:30

DIG-0150 Virtual Reality 2-6

DRW-0018 Intro to Drawing Intensive 2-6

MDIA-0060 Introduction to Sound 2-6

SCP-0030 Intro to 3D Strategies 2-6

SMFA-0162 Art and Ecology 2-6 EDS-0122 Art Education with Special Populations 5:30-8:30

SPRING 2021

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Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS ALL

S M FA- 0114

INTRO ADV ALL GRAD

L A U R E L N A KADATE

V IRTUA L ART S PAC E S 2 021 An advanced course for students interested in applying the professional practice skills necessary to research, build and launch a web based art project supporting thesis shows in North America.

The course is designed in response to Coronavirus pandemic and the need for art programs to transition to online thesis shows. The website will give visibility to the virtual thesis shows of the classes of 2021. Students analyze contemporary virtual art spaces in existence today, and artists who produce web-based projects.

Students will develop a strong understanding of contemporary online projects, and create a new thesis show listing site featuring the work of the class of 2021. Initially launched in the spring of 2020 an astonishing one hundred art schools participated in the ThesisShows2020.com website. ThesisShows2021. com will culminate with a May 2021 release. Basic web design skills assumed. Advanced course of interest to students of any discipline.

SPRING 2021

2

SHU

9 am - 1 pm

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9 am - 11 am

1Y

11 am - 1 pm

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2 pm - 6 pm

2X

2 pm - 4 pm

2Y

4 pm - 6 pm

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6 pm - 10 pm 6 pm - 8 pm 8 pm - 10 pm

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Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

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CHANT A L Z A K A R I

DIR ECTE D STU D Y :

GRAPHIC ARTS

Students meet individually with a faculty member several times over the course of the semester to critique work, assess progress, and develop mentorship between individual faculty and students.

Individual critique sessions promote and foster abundant work and rapid progress by helping students deepen their understanding of their artwork, creative process, and work method through focused critical feedback at regular intervals.

The student is asked to present a statement of intent, quantifying expected output, topics of interest or a statement of goals at the first meeting. At the end of the semester they will summarize

the work; this could also be in the form of developing an artistâ&#x20AC;&#x2122;s statement. Faculty will meet each student four or more times a semester for a full hour.

There may also be group meetings with peers to discuss work and progress among fellow students. Group meetings will assist students in developing invaluable skills for responding and giving feedback to one another regarding the work of fellow students. Can be repeated once.

Open to intermediate and advanced level students with proficient design skills.

2

SHU

9 am - 1 pm

1X

9 am - 11 am

1Y

11 am - 1 pm

1Z

2 pm - 6 pm

2X

2 pm - 4 pm

2Y

4 pm - 6 pm

2Z

6 pm - 10 pm 6 pm - 8 pm 8 pm - 10 pm

SPRING 2021

13

3X 3Y 3Z

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

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EVA L U N D S A G E R

A LTE R E D LAN D S CA PES The power and beauty of nature can be a great source for reflection and comfort. Recent research has proven the connection between experiences with nature and feelings of well-being and resilience. In Altered Landscape we will look to the natural world, wherever and however that can be found, seen or understood: from city parks to farmland, from a window view to a home garden, from the study of indoor plants to a massive tree. These diverse spaces will guide us in our art making, as a source for materials, inspiration, reflection and imagery. Field notes, mindfulness exercises, and extended drawings will serve as places for students to reflect on the world around and within themselves.

In addition to drawing, work made in the class may incorporate materials found in nature including pigments and other natural materials, as well as photography, sound and experiential actions, and there will be opportunities for individual pursuits. We will learn about contemporary and historical artworks that respond to nature both physically and as a reflection of inner life, from earth works to painting and drawing to sculpture to solitary performance.

SPRING 2021

4

SHU

9 am - 1 pm

1X 1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

14

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

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TBA CONTA C T J A N E G I L L O O L Y W ITH QUESTIONS

4

C H A R ACT ER A N IM AT IO N

SHU

9 am - 1 pm

1X 1Y 1Z 2X

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.

SPRING 2021

2Y 2Z 3X 3Y 3Z

15

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

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INTERMEDIATE STUDIO SEMINAR

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9 am - 1 pm

1X 1Y

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.

SPRING 2021

SHU

1Z 2X 2Y 2Z 3X 3Y 3Z

16

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

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4

L A U R A BETH REESE

DIGITAL PHOTO: HISTORY & PRACTICE

SHU

9 am - 1 pm

1X 1Y 1Z 2X

This class will introduce students to the fundamental principles of digital photography through its relationship to the history of photography, early image capturing techniques, and the evolving technology that has led to where we are today.

The course will range between experiments with pinhole cameras to demonstrations and hands-on sessions, where students will learn the basics of using their Digital SLR camera including camera operation, shutter speed, aperture, focal length, RAW file formatting, and white balance. Using Adobe Photoshop we will come to know file management techniques, editing, image enhancement, and basic retouching.

SPRING 2021

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In addition to covering these technical topics, we will address aesthetic issues such as composition and quality of light. There will be lectures on historical and contemporary artwork that explore the creative approaches and considerations of photography. There will also be assignments designed to build skills and aesthetic decisions when photographing as well as a midterm project.

As a culmination to the class, students will present a final presentation. At the end of this class, you can expect to know how to create a properly exposed file in camera, how to adjust the tonality of that file in Photoshop and as well as the development and understanding of yourself as an image maker. Introductory course open to all levels.

2Z 3X 3Y 3Z

17

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S C P - 0147 BETSY R E D E L M A N D I A Z ANTHO N Y R O M E R O

FUTUR E T EC H N O IM AG INAR I ES Future Techno Imaginaries is an interdisciplinary studio/ seminar course that takes a decolonial approach to BIPOC centered visionary futures. Using recent fiction, films, popular media, and artistsâ&#x20AC;&#x2122; projects, this course will guide students through a number of resistant and liberatory futures beginning with Afrofuturism and expanding outwards to include fictive kin (latinx-, asian-, queer-, crip-, trans-, indigenous-, feminist-, etc.).

Together these shared visions and cosmologies critically examine societal oppressions related to race, class, sexuality, ability, and gender through multimedia sculpture, performance, writing, and time-based arts.

Artists, authors, and filmmakers include Janelle Monae (Cindi Mayweather), Alex Rivera, Catherine S. RamĂ­rez, Donna Haraway, Octavia Butler, and Guadalupe Maravilla. Students will be encouraged to employ various media, materials, and processes as they create techno-imaginaries of their own, exploring social transformation through art-making.

SPRING 2021

INTRO ADV ALL GRAD

4

SHU

9 am - 1 pm

1X

9 am - 11 am

1Y

11 am - 1 pm

1Z

2 pm - 6 pm

2X

2 pm - 4 pm

2Y

4 pm - 6 pm

2Z

6 pm - 10 pm 6 pm - 8 pm 8 pm - 10 pm

18

3X 3Y 3Z

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

S M FA- 011 8 SAMAN T H A FIELD S

JESSICA FERGUSON

INTRO ADV ALL GRAD

MICHELLE SAMOUR

4

RETHINK, REMAKE, REUSE

SPRING 2021

The scarcity of preferred materials and art supplies in these quarantined times compels us to be more resourceful and to improvise using non-traditional materials in our studios. Students transform castoffs and detritus into new forms. Recycle, upcycle, and reconfigure ordinary, non-art materials. Make something old new again; give it new life and meaning. Look at the impulse to decorate and embellish across cultures; explore how the meaning of a material changes depending upon its context. Consider how, in the act of making, spaces can be created that cross social/cultural/ racial/gender boundaries. In-class demonstrations, assigned and independent projects guide students as they develop their ideas.

PowerPoint presentations, readings, and visiting artists contextualize explorations of historical precedents and contemporary practice. Faculty draw on their expertise in papermaking, textile practice, sculpture and artistsâ&#x20AC;&#x2122; books/altered books in the design of the course. Open to all levels.

SHU

9 am - 1 pm

1X

9 am - 11 am

1Y

11 am - 1 pm

1Z

2 pm - 6 pm

2X

2 pm - 4 pm

2Y

4 pm - 6 pm

2Z

6 pm - 10 pm 6 pm - 8 pm 8 pm - 10 pm

19

3X 3Y 3Z

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

PAI - 01 93

ADV

DAVID A N T O N I O C R U Z

PAINTING DIRECTED STUDY Students meet individually with a faculty member several times over the course of the semester to critique work, assess progress, and develop mentorship between individual faculty and students. Individual critique sessions promote and foster abundant work and rapid progress by helping students deepen their understanding of their artwork, creative process, and work method through focused critical feedback at regular intervals.

The student is asked to present a statement of intent, quantifying expected output, topics of interest or a statement of goals at the first meeting. At the end of the semester s/he will summarize the work; this could also be in the form of developing an artistâ&#x20AC;&#x2122;s statement.

Faculty will meet each student four or more times a semester for a full hour.

There may also be group meetings with peers to discuss work and progress among fellow students.

Group meetings will assist students in developing invaluable skills for responding and giving feedback to one another regarding the work of fellow students. Can be repeated once.

Recommended: junior, senior, post-bac, or graduate standing. Faculty permission required.

SPRING 2021

2

SHU

1X 1Y 1Z 2X

2 pm - 4 pm

2Y 2Z 3X 3Y 3Z

20

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

P H T- 01 02 BILL B U R K E

INTRO INT ADV ALL GRAD

VINNY MARTIN

THE PHOTO GRAPHIC B O OK This is a tutorial course for people who are interested in developing a photographic book. Relationships among pictures and the relationship between picture and text will be central concerns.

Admission is based on portfolio and interview. Applicants should have an existing body of work that they wish to sequence in book form. Means of publication will be up to the student; and we will study several publishing options.

SPRING 2021

2

SHU

9 am - 1 pm

1X

9 am - 11 am

1Y

11 am - 1 pm

1Z

2 pm - 6 pm

2X

2 pm - 4 pm

2Y

4 pm - 6 pm

2Z

6 pm - 10 pm 6 pm - 8 pm 8 pm - 10 pm

21

3X 3Y 3Z

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

VM S - 01 93 - 02 SILVI A BOTTI N E L L I

INTRO ADV ALL GRAD

E M I L Y G E P H A RT

C U LT I VATI N G ECO LO G I ES : A RT & E N VI RO N M E N T This co-taught course builds upon concepts presented in VMS/ SMFA 161 Art & Environment: Visual Ecologies, with particular focus on how producers of art and visual culture across disciplines have envisioned relational interdependence between humans and the plant and animal worlds. Through synchronous and asynchronous course components, students will investigate inter-disciplinary case studies in historical and contemporary art. Together, we will evaluate issues such as global climate and local eco-systemic change; the ties linking social, economic, racial and environmental justice; biodiversity and pres-

ervation efforts; inter-species agency; and histories of extractive agriculture as well as artist-led efforts towards systemic change. Weekly pre-recorded lectures will be complemented by readings, film and video screenings, online exhibition visits, creative analysis projects, written assignments and lively group discussion. Students do not need to have previously taken VMS/ SMFA 161 in order to enroll in this class. An asynchronous-only option is available to students who are fully remote and in incompatible time zones.

3

SHU

9 am - 1 pm

1X

9 am - 11 am

1Y

11 am - 1 pm

1Z

2 pm - 6 pm

2X

2 pm - 4:30 - 4 pm pm

2Y

4 pm - 6 pm

2Z

6 pm - 10 pm 6 pm - 8 pm 8 pm - 10 pm

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENTS IN INCOMPATIBLE TIME ZONES SPRING 2021

22

3X 3Y 3Z

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

D IG - 01 5 0

INT

BILLY F O S H A Y

VI RTUAL REA L I T Y 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 VRâ&#x20AC;&#x2122;s place within the philosophical, aesthetic, and ethical dimensions of mimetic representation.

SPRING 2021

4

SHU

1X 1Y 1Z

2 pm - 6 pm

2X 2Y 2Z 3X 3Y 3Z

23

Monday

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO

D RW- 0 01 8- 01 MARA M E T C A L F

INTRO TO DRAWING: INTENSIVE 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.

SPRING 2021

4

SHU

1X 1Y 1Z

Section 1

2 pm - 6 pm

2X 2Y 2Z 3X 3Y 3Z

24

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

MD IA- 0 0 6 0

INTRO ADV ALL GRAD

ANDRE W H L Y N S K Y

IN TRODUC T ION TO S O U N D This beginning course explores the medium of sound and the ways in which visual artists have incorporated it into their practice. While covering separate â&#x20AC;&#x153;sound artâ&#x20AC;? 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.

SPRING 2021

4

SHU

9 am - 1 pm

1X

9 am - 11 am

1Y

11 am - 1 pm

1Z

2 pm - 6 pm

2X

2 pm - 4 pm

2Y

4 pm - 6 pm

2Z

6 pm - 10 pm 6 pm - 8 pm 8 pm - 10 pm

25

3X 3Y 3Z

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

S C P - 0 03 0 M I C H A EL BARSANTI T A N Y A CRANE M I A F ABRIZIO

INTRO TO 3D STRATEGIES

INTRO

4

SHU

1X 1Y 1Z

How do you make a soap box car out of a cardboard box, 4 produce bags, a strawberry container, 2 envelopes, a Q-tip, a t-shirt, paper clips, flour, an egg, and a rubber band? What strategies are needed to meld these seemingly disparate materials into a functional and visually appealing object?

Intro to 3D strategies will introduce approaches to help plan, model, and create sculptural objects that exist in time and space. Together, we will explore the physical skills needed to connect actual materials and understand the connections between those materials and their historical, political, and contemporary contexts. From the nonsensical and absurd, students will be challenged using collaborative game-playing, creative problem solving and competitive make-a-thons and will be introduced to the various SMFA fabrication facilities and studios.

SPRING 2021

2 pm - 6 pm

2X 2Y 2Z 3X 3Y 3Z

26

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO ADV ALL GRAD

S M FA- 01 6 2 [all levels]

PATTE L O P E R M A R Y E L L E N STROM

A RT A ND ECO LO GY Art & Ecology is an experiment in adaptive and transdisciplinary collaboration, the course engages with social and environmental discourses as expressed through art making and the humanities. Faculty-led units address broad themes including racial and environmental justice, de-coloniality, care ethics and new materialism. Students will acquire skills to produce cross-media projects using video, painting, installation, performance, and research-based projects in response to critical conversations about the health and regeneration of planet Earth. Weekly modules will involve tutorials, screenings, podcasts, visiting artists, and open-ended assignments. Our hope is to develop a vital learning community by fostering active participation and creation during this uncertain time. All students are welcome.

This course will be taught as two, 6-week rotating transdisciplinary units with shared content:

SPRING 2021

Mary Ellen Strom’s unit FIELDWORKS is based on experiential environmental learning. Students will select a specific site and produce an artwork in that location. Students will develop new knowledge of the location and form deep, empathic relationships to place. Students will produce artworks that operate at the intersection of social and environmental change. In this course we will inform ourselves of urgent environmental debates including racial and environmental justice, care-ethics, settler colonialism and de-coloniality, Indigenous Knowledges and relationship building with the human and more than human world. Methods of observation, research, drawing, mapping and video will be used to produce an iterative site-specific artwork. This is an opportunity to develop an in-depth relationship with and discover new knowledge about the site’s history, geography and biology. These place-based installations will be produced using a range of media including video, sound, sculpture, per-

4 formance and painting. Along with producing these site-works, we will learn to document our projects.

Patte Loper will lead MATERIALITY AND MEANING, a unit designed for students of all levels who are interested in developing painting and installation projects related to ecological thinking. This includes but is not limited to observation of nature, social and environmental justice, and climate activism.

Students will be invited to choose from a range of traditional and experimental material approaches including oil or acrylic painting on canvas, experimental painting surfaces and materials, and sustainable installation practices to develop an independent project.

We will explore how materiality, imagery, and site can be used as powerful tools to create artwork that is both economical and sustainable while exploring how the larger themes of the course – environmentalism, care ethics, social and racial justice – can operate within your personal body of work.

SHU

9 am - 1 pm

1X

9 am - 11 am

1Y

11 am - 1 pm

1Z

2 pm - 6 pm

2X

2 pm - 4 pm

2Y

4 pm - 6 pm

2Z

6 pm - 10 pm 6 pm - 8 pm 8 pm - 10 pm

27

3X 3Y 3Z

Monday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

ED S- 01 22 KAY FU R S T

ART EDUCATION WITH SPECIAL POPULATIONS Art Education with Special Populations considers the role of the art educator with regard to visual culture and art making with special populations. Attention focuses on learners with special needs. Exceptionalities in learning and expressing are explored through current research in psychology, sociology and anthropology. Field observations to art education sites that care for and educate special populations will inform reflective discussion and curriculum development. Solving issues of lesson adaptations to make art available to all will be explored. A broad view of ability/disability will inform the art educatorâ&#x20AC;&#x2122;s role in asking questions such as: What counts as art? Who counts as artist? And What counts as knowledge?

Open to all BFA students with priority registration given to BFA students who intend to apply to the MAT program.

SPRING 2021

3

SHU

1X 1Y 1Z 2X 2Y 2Z 3X

5:30 - 8:30 pm3Y 3Z

28

Tuesday SMFA-0116 Writing for Artists 9-11 DRW-0124 Intermediate Figure Drawing: Political Gestures 9-1 SMFA-0108 Open Studio 9-1 MDIA-0141 Animation 1 9-1 PAI-0099 Material Meaning 9-1 PHT-0126 The Frame & the Subject 9-1 PHT-0144 Socially Engaged Art 9-1 PRT-0163 Papermaking: Test Kitchen 9-1 MDIA-0124 Appropriation Art: Duchamp to Digital Disobedience 11-1 PRT-0180 Redrawing Realities, Social Action 11-1 VMS-0191 Redrawing Realities, Social Action 11-1 MDIA-0127 Directed Study: Media Arts 2-4:30 MDIA-0109 Visual Programming for Visual Thinkers 2-6 PER-0158 Performance and Painting 2-6 PHT-0150 Portraiture & the Self 2-6 VMS-0002 Intro to Western Art 3-4:15 PRT-0165 Home Strategies: The Sequel 6-8 SCP-0193 Directed Study 6-8 SMFA-0195 Creative & Professional Practices 6-8 PHT-0193 Directed Study: Photography 6-9 SPRING 2021

29

Tuesday ALL DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO ADV ALL GRAD

S M FA- 011 6 TBA

W RI T I NG FO R ARTI ST S 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 artistsâ&#x20AC;&#x2122; writings.

2

SHU

1X

9 am - 11 am

1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

SPRING 2021

30

Tuesday EDS

ALL DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

S M FA- 01 0 8

INTRO ADV ALL GRAD

A N T H ONY ROMERO F L O O R VAN DE VELDE

4

OPEN STUDIO

SHU

9 am - 1 pm Advanced-level studio course with a focus on providing time in the pursuit of individual projects. This class develops and expands studentsâ&#x20AC;&#x2122; 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.

1X 1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

SPRING 2021

32

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

M D I A- 0141

INTRO ADV ALL GRAD

M A Y A ERDELYI-PEREZ

AN I M AT I ON 1

4

SHU

9 am - 1 pm

1X 1Y 1Z 2X 2Y

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.

SPRING 2021

2Z 3X 3Y 3Z

33

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

PAI- 0 0 9 9

INTRO INT ADV ALL GRAD

E V A LUNDSAGER

4

M ATE R I AL M E A NI NG

SHU

9 am - 1 pm

1X 1Y 1Z 2X 2Y

Designed for intermediate and advanced students interested in exploring strategies for generating ideas and investigating methods of execution with a particular focus on materials and their relationship to content. Investigate the benefits of working in series in order to examine multiple conceptual and technical processes through assigned project. Discussion of both traditional and non-conventional materials, seeking alternative processes and materials that are appropriate to individual visions. Examination of historical and contemporary practices. Students encouraged to consider the nature of their work with regard to the contemporary context. Students must have completed at least 1 SMFA painting class or have relevant experience.

SPRING 2021

2Z 3X 3Y 3Z

34

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

P H T- 014 4

ADV

N E D A MORIDPOUR

SOCIALLY ENGAGED ART

4

SHU

9 am - 1 pm

1X 1Y 1Z 2X

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.

SPRING 2021

2Y 2Z 3X 3Y 3Z

36

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

P RT- 01 63 ALL

M I C H ELLE SAMOUR

4

PAPERMAKING:

TEST KITCHEN

SHU

9 am - 1 pm

1X 1Y 1Z 2X 2Y

The Kitchen is source material for experiments with papermaking and natural dyes. Students take stock of what is in their kitchens that can be used to make paper, embed in paper, and create natural dyes. Experiments with compost paper and vegetable papyrus from thinly cut and pressed fruits and vegetables, spice papers, paper waste handmade paper, etc.

Fill out lab sheets to record experiments with materials and processes, make a cloth-covered portfolio to hold paper samples and notes, and create photo samples of papers using cell phones. Readings and discussions about ecology, food and farming justice, early environmentalists and naturalists and contemporary artists whose work focuses on sustainability and reclaiming materials.

SPRING 2021

Develop a greater appreciation of the foods and materials one consumes and uses, their harvest and distribution, ecological impact and viability as source materials for making paper. Learn about the history of both Eastern and Western papermaking, and how the materials/plants indigenous to each climate dictate the kind of paper that is made.

Guest artists discuss their work with handmade paper as their primary material and address issues of sustainability and ecology. Critiques and demonstrations happen online while consultation and process coaching is addressed individually or in small groups.

Students should have access to a kitchen blender.

Open to all levels.

2Z 3X 3Y 3Z

37

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

M D I A- 01 24

INTRO INT ADV ALL GRAD

N A T E HARRISON

A P P RO P R I ATI O N ART:

2

SHU

DU CH A MP TO DIG ITA L D IS O B E D IE N C E

1X 1Y

11 am - 1 pm

1Z 2X 2Y

REQUIREMENTS: A knowledge of modern art history is helpAppropriation Art is both a seminar and production class that ful.

Some experience with digital audio editing tools is required. will provide students with a thorough understanding of the issues and techniques surrounding the artistic act of using pre-existing Experience with video production will be beneficial. Engagement materials as one’s own. While each student’s output will be pri- with the weekly readings and participation in group discussion is marily electronic in form, the class will explore the ways in which expected. appropriation strategies have been implemented and interpreted across media within modern and contemporary art. From Duchamp’s readymades to Pop Art to the Pictures Movement to today’s various music and remix cultures, the institutional, political, legal and economic structures that have conditioned a discourse of appropriation art will be rigorously interrogated. Class readings will come from art and cultural criticism, artists’ texts, and actual court case decisions. Student projects will be assessed through the histories and theories acquired during class discussion.

SPRING 2021

2Z 3X 3Y 3Z

38

Tuesday

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

ART HISTORY CREDIT

EULOGIO GUZMAN PETER SCOTT

V M S - 01 93

REDRAWING REALITIES:

P RT- 01 8 0 STUDIO CREDIT

INTRO ADV ALL GRAD

3 4

SHU

SHU

1X 1Y

11 am - 1 pm

Social Action in the Art of the Americas, 1500 to the Present

1Z 2X 2Y

Visual Culture provides an essential view into the social conditions that shape society.

This class explores many of the most salient material and visual culture objects in the history of colonialism for the Americas, 1500 to the present, as a means of investigating how art has and continues to function(ed) as social action and the ways artists have helped bring, facilitate, heal, enact social change.

Many studies focusing on the conquest of the Americas and the ensuing colonial experience in the Spanish colonies emphasize the establishment of European ideals over Amerindian subjects and their visual culture.

This univocal focus has created a historical SPRING 2021

record which privileges an imperial (male) view of power as singular in experience. An assessment of the many forms visual culture took in the aftermath of the conquest of the Americas and then through its respective national transformations form independence through revolutions and present democratic adjustments shows there was no singular colonial experience. This course examines the socio-economic, cultural and political factors that created new realities and wide ranging colonial experiences for those who have populated the American Continent and survived, endured and adapted to the changing colonial powers. Studio components in this class allow

students to learn from the vastly creative corpus of works which were generated often in oppressive social conditions. The visual reassessment will allow the class to reflect on the power of image to transcend what has often been characterized as centuries of oppression to recognize the ways art redrew new realities and contributed to formulating more inclusive environments. Open to all levels.

Students may take this course for Art History credit or for Studio credit, or for both.

However, to receive full credit for both (7 SHU), students must complete all respective assignments for both the VMS and Studio sections.

2Z 3X 3Y 3Z

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENTS IN INCOMPATIBLE TIME ZONES

39

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS ADV

DIRECTED STUDY: MEDIA ARTS

2

SHU

M DI A- 01 2 7

Advanced class consisting of regular one-on-one remote meetings between fi lm/animation/video/sound students and faculty mentor to critique work and assess progress. Three group critiques of Work in Progress plus a Final Critique will be conducted remotely. Students must present a statement of intent, quantifying expected output, topics of interest, project development or a statement of goals at the fi rst meeting. At the end of the semester, students must summarize work, in the form of an artistâ&#x20AC;&#x2122;s statement, and give a fi nal presentation to the class for critique. Faculty permission required.

1X 1Y 1Z 2X

2 - 4:30 pm

2Y 2Z 3X 3Y 3Z

SPRING 2021

40

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

M D I A- 01 0 9

ANDREW H L Y N S K Y

VIS UAL PRO GRAMMING FOR VIS UAL THINKING

ALL

4

SHU

1X 1Y 1Z

2 pm - 6 pm

2X 2Y 2Z

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.

SPRING 2021

3X 3Y 3Z

41

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

PAI - 01 3 3 PE R- 01 5 8

INT GRAD

DANIE L L E A B R A M S

P A T T E LOPER

PER FO R M AN C E

& PA I NTI N G

SPRING 2021

Hybrid course in which students in painting and/ or performance synthesize areas of expertise with installation and new processes and methods. Experimental approaches and research. Opportunity to bridge practices, whether in 2D media or embodied art forms. Prerequisite: one drawing course, and preferably at least one painting course and/or performance course.

4

SHU

1X 1Y 1Z

2 pm - 6 pm

2X 2Y 2Z 3X 3Y 3Z

42

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

P H T- 01 5 0

ADV

R A C H ELLE MOZMAN-SOLANO

PORTRAITURE AND THE SELF Development of portrait photography skills and discussion of the photographer’s relation to subject.

Readings will address the photographer’s unconscious in relation to the work they make. Recommendations: a basic understanding of camera controls, digital imaging, and digital printing, or permission of the instructor.

4

SHU

1X 1Y 1Z

2 pm - 6 pm

2X 2Y 2Z 3X 3Y 3Z

SPRING 2021

43

Tuesday

T hursday

DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

PRT SCP VMS INTRO

VM S - 0 0 02 FAH - 0 0 02 EMILY G E P H A R T

34

SHU

I N T RO TO W E STE R N ART

1X 1Y 1Z

Thematic survey of major artists, monuments, and materials from the Renaissance to the present. A historic thread underpins an exploration of dominant themes in the Western tradition of visual art including nature, the body, politics and protest, gender, race, representation, and religion. Exploration of pressing contemporary issues like climate change, de-colonization, who is commemorated through public art, the art market, and museum ethics.

2X

3 - 4:15 pm

2Z 3X 3Y 3Z

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENTS IN INCOMPATIBLE TIME ZONES SPRING 2021

2Y

44

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

PAI - 0 021

INTRO

DAVID ANTONIO C R U Z

2

SHU

BEGINNING PAINTING Students interested in studying painting through direct observation are welcome in this course. The focus is to develop core skills in observational painting. Lectures will include an introduction to relevant art historical and contemporary dialogue. Demonstrations will provide practical information on a variety of materials and techniques. Students will work on various surfaces with oil paint and some water-based media. Exercises will introduce the fundamentals of painting, including topics such as contrast, value, perspective, color and color theory, composition and the techniques necessary to develop strong painting skills. This is an introductory course open to all levels.

SPRING 2021

1X 1Y 1Z 2X

2 pm - 4 pm

2Y 2Z 3X 3Y 3Z

Tuesday

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

P RT- 01 6 5 CAROLYN MUSKAT PETER SCOTT

ALL

4

SHU

HOME STRATEGIES: THE SEQUEL

1X 1Y 1Z 2X 2Y

Your studio as printshop and offi ce. This course is an extension of the fall semester’s “Paper and Print: Home Strategies” course (not a prerequisite, however). This spring version features an amplifi ed focus on printmaking approaches that can be readily employed in the home studio. Techniques addressed include lithography, stencil applications, collage, monotypes, and relief printing, along with related digital supports. In addition, there will be weekly presentations on the logistics of maintaining a home studio and related professional topics: inventory, storage, pricing work, research on cooperative and contract print studios, and applications for grants and residencies.

This course is open to students at all levels.

SPRING 2021

2Z 3X

6 pm - 8 pm

3Y 3Z

45

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

S C P - 01 93

ADV

T A N Y A CRANE

DIRECTED STUDY

2

SHU

1X 1Y 1Z 2X 2Y 2Z 3X

6 pm - 8 pm

3Y 3Z

Individual meetings with faculty member to critique work, assess progress, and develop mentorship between faculty and student. Consists of four or more individual meetings per semester in addition to group meetings to discuss work and progress.

Directed Study is for advanced students (MFA, Post-Baccalaureate, Diploma or Third and Fourth year BFA Students). Faculty permission required.

SPRING 2021

46

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS ALL

S M FA- 01 9 5

ADV

RYAN SMITH

C R E ATI V E &

P RO FE S S I O N AL PR AC T I C ES

SPRING 2021

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. Class will meet regularly Tuesdays 6-8 and students should be available on some Fridays 2-4 to take advantage of visiting artist lectures.

Open to SMFA Juniors, Seniors, and Graduate students.

2

SHU

1X 1Y 1Z 2X 2Y 2Z 3X

6 pm - 8 pm

3Y 3Z

47

Tuesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

P H T- 01 93

ADV

B O N N I E DONOHUE

DIRECTED STUDY

2

SHU

The student is asked to present a statement of intent, quanAdvanced class consisting of regular one-on-one meetings between photography students and faculty mentors over the tifying expected output, topics of interest, project developcourse of the semester to critique work and assess progress. ment or a statement of goals at the first meeting. At the end of Individual critique sessions deepen student understanding of the semester, s/he will summarize the work. This may be in the their artwork, creative process, and work method, through fo- form of an artistâ&#x20AC;&#x2122;s statement. There may also be group meetings to discuss work in progress and assist students in developing cused critical feedback at regular intervals. invaluable skills for responding and giving feedback on the work of fellow students.

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

1X 1Y 1Z 2X 2Y 2Z 3X

6 pm - 9 pm

3Y 3Z

SPRING 2021

48

Wednesday

SPRING 2021

GRA-0191 PER-0191 VMS-0193 PAI-0003 PAI-0172 SCP-0148 MDIA-0112 PHT-0107 SMFA-0103 SMFA-0119 DRW-0193 SCP-0107 SMFA-0115 SMFA-0120 DRW-0018 MDIA-0001 PRT-0166 MDIA-0163

Creative Activism in Emerging Technologies 9-11 Styles of Live Art 9-11 Contemporary Art: 2000 to Now 9:30-12 Introduction to Painting 9-1 Intermediate Portrait Painting 9-1 Relational Placemaking 9-1 Mother 9-1 Mother 9-1 Drawing to Print: Halls to Walls 9-1 Flyers and Zines 11-1, 2-4 Directed Study in Drawing 2-4 Narrative Projects 2-6 Decolonizing Our Walls 2-6 Beginning 3D Modeling 2-6 Intro to Drawing Intensive 2-6 Intro to Video Art 2-6 Int/Adv Projects in Paper/Print 6-8 Sound & Moving Image 6-9

49

Wednesday

Friday

DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

G R A- 01 91 ALL

SOFIE HODARA

4

SHU

9 am - 1 pm

C REATIVE ACTIVISM IN EMERGING TECHNOLO GIES 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 SPRING 2021

1X 1Y 1Z 2X 2Y 2Z 3X 3Y

of social resistance through a variety of projects on the web and in augmented reality.

Readings and class lectures will cover works from Steve Lambertâ&#x20AC;&#x2122;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.

3Z

50

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

PE R-1 91- 01

INT

ANTHONY ROMERO

ST Y L E S OF LI VE ART

2

SHU

1X

A laboratory of twentieth-century avant-garde performance styles and movements, with special attention to paid to how these histories of performance intersect with feminism, queer theory, disability studies, post-colonialism, and critical race theory. In addition to examining these histories of performance art, we will consider the use of time and space, the performer/audience relationship, and the process of developing original material.

Concepts of intention and expectation: what do you want to translate for an audience to experience, and how will you embody that translation? Create performances using visual images, the senses, personal writings, and observations of daily activities and rituals. For intermediate to advanced students.

SPRING 2021

9 am - 11 am

1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

51

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

V MS - 01 93 - 0 4

ADV

SILVIA BOTTINELLI

A LTE R E D LAN D S CA PES CONT E MP ORARY ART 2 0 0 0 TO NOW The power and beauty of nature can be a great source for reflection and comfort. Recent research has proven the connection between experiences with nature and feelings of well-being and resilience. In This non-studio course maps out contemporary art Altered Landscape we will look to the naturalmateriality, world, discourses, including cross-disciplinarwherever and howeverity, thatsubjectivity, can be found, seen or social engagement, glocalization, understood: from city parks to farmland, fromexhibition a win- systems. Students communications, and dow view to a home garden, from the study of indoorthemselves within the are encouraged to position plants to a massive tree.

These landscapes diverse spaces discursive that will we will explore. guide us in our art making, as a source for materiAssignments include: analysis of an artist stateals, inspiration, reflection imagery.

Field notes, mentand or artist website; review of exhibition or artist mindfulness exercises,social and extended drawings media page as a sitewill of display; journal entries serve as places for students to reflect atonleast the world after attending 2 artist talks (virtual or in around and within themselves. person) during the semester; and a final paper comIn addition to drawing, class with examples from paringwork ownmade work in or the aesthetics may incorporate materials in nature including classfound materials. pigments and other natural materials, as well as photography, sound and experiential actions, and there will be opportunities for individual pursuits. We will learn about contemporary and historical artworks that respond to nature both physically and as a reflection of inner life, from earth works to painting and drawing to sculpture to solitary performance.

SPRING 2021

3

SHU

1X

9:30 - 12 pm

1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENTS IN INCOMPATIBLE TIME ZONES

52

Wednesday

T hursday

DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO

PA I - 0 0 03 - 01 ANGELINA GUALDONI

4 Section 1

SHU

9 am - 1 pm

INTRODUCTION TO PAINTING

1Y 1Z 2X

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.

SPRING 2021

1X

2Y 2Z 3X 3Y 3Z

53

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

PA I - 0 0 03

INT

KARLI TUCKER

INTERMEDIATE PORTRAIT PAINTING 4 Contemporary portraiture offers a platform for exploration of subject, (the persons pictured) and subjectivity (the feeling, read, or take of the painter). Situating portraiture within a broader contemporary context, examining the role of identity, gender, race, nationality, and class of those depicted and depicting people in paintings. Develop rendering skills to depict the human head and figure, caricature and expression, and the ability to elaborate, expand, and fictionalize sitters. Recommended: An introductory level painting course, beginning oil painting, or the equivalent. Non-SMFA students and MAT Art Education students will receive a letter grade.

SHU

9 am - 1 pm

1X 1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

SPRING 2021

54

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

S C P - 014 8

ADV

KENDALL REISS

R E LAT I ONAL PLAC EM A K IN G Relational Placemaking considers the connection between landscape and the human body through interactions with, manipulation of and movement through built and natural environments. Using outdoor spaces as an initial point of reference and response, this course invites students to work in direct contact with the landscape. Drawing from principles of relational aesthetics, human ecology, and land acknowledgement, students will be invited to explore practices of cultivation, care and placemaking in connection with sites of their own choosing.

This studio/seminar course will introduce a variety of interconnected concepts and questions related to environmental studies, landscape history, Indigenous technology, sustainability, ecology, migration, mythology, as well as examples of corporeal and collaborative approaches to the land including: walking meditation, labyrinths, and shinrin-yoku or forest bathing. Students will be encouraged to explore a range of media, materials, and refl ective approaches, as they work physically, tactilely, spiritually, energetically and in connection with the landscape. Lectures, active discussions, readings and digital content will introduce and explore the work of artists and scholars such as: Agnes Denes, Marlon Forrester, Donna Haraway, Maya Lin, Ana Mendietta, Ronald Rael & Virginia San Fratello.

SPRING 2021

4

SHU

9 am - 1 pm

1X 1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

55

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

MD IA- 011 2 PHT- 01 07

ADV GRAD

M OTHE R

SPRING 2021

LAUREL NAKADATE This intermediate studio course investigates images of mothers and motherhood in modern and contemporary SHU photography and video. The subject of motherhood has never been more urgent than in todayâ&#x20AC;&#x2122;s political climate, implicit in the separation of families at the American bor9 am - 1 pm der, political fi gures giving birth while serving in offi ce, discrimination against mothers in the workplace, U.S. opposition to an international breast feeding resolution, and endless challenges to laws that allow women control over their own bodies and reproductive choices.

Artists have long questioned the choice of becoming a mother for the sake of career. Romanticized images of motherhood in the Western art historical canon, are unfi ltered representations that have been marginalized, absent from or suppressed by contemporary art discourse until very recently. This course explores complex relationships to motherhood by a diverse group of artists making work about their own mothers, their own status as mothers, and observations of mothers as disseminated in popular culture and the art world.

Students will produce photographs, or videos, investigating the subject of mothers. Through weekly slide talks, group critiques and individual meetings with the instructor, we will create a platform for students to develop not only their own investigations, but to broaden a cultural conversation on the topic of mothers and motherhood. Knowledge of photography or video and video editing is expected.

4

56

1X 1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

S M FA- 01 03 C H A R L ES GOSS R H O D A ROSENBERG

DRAWING TO PRINT:

WALLS TO HALLS

ALL

4

SHU

9 am - 1 pm

1X 1Y

Draw & Print: Walls to 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 students to use any kinds of mark making tools they can find, both traditional and non-traditional. 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. Students will be able to draw, paint, collage and print where they live.

Faculty presentations and discussions will give students access to a broad range of material, conceptual and contextual considerations. Group critiques and individual consultations will give students regular feedback on their ongoing work.

SPRING 2021

1Z 2X 2Y 2Z 3X 3Y 3Z

57

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

S M FA- 011 9

ADV

JENNIFER SCHMIDT ASUKA OHSAWA

FLYERS & ZIN E S Flyers and Zines is a timely course about how graphics and print can create a space for community exchange through the sharing of individual and group happenings, stories, and opinions. Raw, unfiltered, and unapologetically personal, flyers and zines offer a creative forum for self and collective expression. Through the use of hands-on graphic design, drawing, writing, and performance, we will explore a variety of approaches to communicating our individual narratives, sociopolitical concerns, and cultural values through the making of flyers and zines. Photocopying and digital printing will be our primary mode of production.

Students will be asked to purchase an affordable “all in one”: scanner, photocopier, and laser printer to use in their own studio with readily available office paper, markers, pens, staples, and tape. We will also print a Risograph publication featuring photo/digital reproductions of a collaborative “screen based” project.

Course presentations will include: a history of zines, the role of flyers in performative actions and happenings, appropriation and cultural commentary, writing genres, experimental publishing, book/zine fairs, and DIY culture. Weekly meetings will include creative writing and drawing in real-time; demonstrations; presentations; visiting artists/writers/activists/ historians/printers; and group discussion of readings and current events.

Students will work individually, and in small groups on collective projects, and will be expected to do daily research by reading online newspapers, magazines, and social media.

SPRING 2021

4

SHU

1X 1Y

11 am - 1 pm

1Z 2X

2 pm - 4 pm

2Y 2Z 3X 3Y 3Z

58

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

EDS

MDIA INTRO ADV ALL GRAD

DRW- 01 93 CHARLES GOSS

DRAWING DIRECTED STUDY This on-line class consists of one on one and group meetings in which students will meet individually with a faculty member on scheduled times over the course of the semester to critique work, assess progress, and develop mentorship between faculty and the student.

Individual critique sessions promote and foster abundant work and rapid progress by helping students deepen their understanding of their creative process and work methods through focused critical feedback at regular intervals. There will be 4 to 6 private meetings each semester-1 hour long-and 3 group meetings scheduled to discuss work and share your progress. Prior to our 1st meeting the student is asked to present a statement of intent, quantifying expected output, topics of interest and goals. At the end of the semester students will summarize their work via an all class critique which will include a developed artists statement. Directed Study is for upper classmen and advanced students (MFA, Post-Baccalaureate, Diploma or Third and Fourth year BFA Students). Faculty permission required.

2

SHU

1X 1Y 1Z 2X

2 pm - 4 pm

2Z 3X 3Y 3Z

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENT IN INCOMPATIBLE TIME ZONES SPRING 2021

2Y

59

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

S C P - 01 07 ALL

MICHAEL BARSANTI

4

SHU

NARRATIVE PROJECTS

1X 1Y 1Z

2 pm - 6 pm History is brimming with storytelling from cave painting to entirely new virtual realities.

This multimedia studio course will use whatever materials can be found, purchased or manufactured to illustrate these narratives. Using common tools for documenting, creating and sharing these narratives, students will create tableaus, dioramas, or even claymation to tell their stories.

We will utilize our realizations to develop themes and narratives into self-directed projects.

SPRING 2021

2X 2Y 2Z 3X 3Y 3Z

60

Wednesday ALL DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

S MFA- 011 5

ADV

BETSY REDELMAN DIAZ

DECOLONIZING OUR WALLS AN ANTI-RACIST PUBLIC ART AUDIT

SPRING 2021

The artworks that have hung on the walls in spaces like Alumnae Lounge, the Coolidge Room and the Fletcher School’s library, among others, hold our institution’s history within their frames— the exclusionary nature of which we must reckon with as a community. In collaboration with Tuft’s Anti-Racist Initiative and the Public Art Committee, this course gives students the chance to take part in the university-wide public art audit and affect real institutional change within the context of a class.

Students will be tasked with examining the content and history of a series of artworks currently on display at Tufts, assessing the values they represent, and making recommendations on how to best intervene. To provide context, this research and discussion-based course will survey historical and contemporary examples of intervention strategies used to respond to controversial monuments and public art before taking on a real-world example at our own university.

This interdisciplinary seminar/practicum will challenge students philosophically, creatively and curatorially, asking them to think critically about complex issues utilizing collaborative problem solving. Spanning art history, critical race theory, free speech, community engagement, and social justice, this course moves research and discourse into praxis.

4

SHU

1X 1Y 1Z

2 pm - 6 pm

2X 2Y 2Z 3X 3Y 3Z

61

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO

S M FA- 01 2 0 ANDREW PERINI

4

SHU

1X 1Y 1Z

2 pm - 6 pm

2X 2Y 2Z 3X 3Y

B EGINNING 3 D MODELING

3Z

Use Blender to create your own models, animations, games, and more. Learn basic 3D modeling skills, including modeling, texturing, and lighting. Develop solid foundational skills for pursuing further 3D modeling and animation projects. Online instruction mode only. Suitable for students with no prior experience with 3D digital media authoring tools.

SPRING 2021

62

Monday

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO

D RW- 0 01 8- 02 MARA M E T C A L F

INTRO TO DRAWING: INTENSIVE 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.

SPRING 2021

4

SHU

1X 1Y 1Z

Section 2

2 pm - 6 pm

2X 2Y 2Z 3X 3Y 3Z

63

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

MD IA- 0 0 01

M D I A- 0 0 01

INTRO

JANNE HOELTERMANN

I NTRO TO VI D EO A RT 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.

4

SHU

1X 1Y 1Z

2 pm - 6 pm

2X 2Y 2Z 3X 3Y 3Z

SPRING 2021

64

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

P RT- 01 6 6

ADV

MICHELLE SAMOUR

PETER SCOTT

INT/ADV PRO J EC T S IN PAPER/PRIN T

2

SHU

1X 1Y 1Z

This course is intended for intermediate to advanced students interested in working on independent projects using print and/or paper media. Faculty will work with students to develop individual projects, design a timeline, suggest resource material, facilitate research, and compose a statement that articulates the technical and conceptual basis of their projects. Class will meet as a group periodically to share work in progress; individual consultation will be scheduled throughout the remaining weekly class sessions.

SPRING 2021

2X 2Y 2Z 3X

6 pm - 8 pm

3Y 3Z

65

Wednesday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

MD IA- 01 6 3

INT

KURT RALSKE

2

SHU

SOUND & MOVING IMAGE

1X 1Y 1Z 2X

When combined, sound and image infl uence 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 fi lm 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 fi lms 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 selecSPRING 2021

tion and placement, audio editing software, dynamics control, equalization, noise reduction, workfl ow, 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 imagefor-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.

2Y 2Z 3X

6 pm - 9 pm

3Y 3Z

66

T hursday PHT-0145 DIG-0102 PAI-0003 PHT-0149 SCP-0151 VMS-0091 MDIA-0147 DRW-0013 PRT-0180 VMS-0193 GRA-0179 VMS-0100 DRW-0013 DRW-0114 MDIA-0104 SMFA-0117 VMS-0002 PRT-0165 SMFA-0121 PHT-0108 SPRING 2021

Directed Study: Art & Social Justice 9-11 The Art of the Fake 9-1 Introduction to Painting 9-1 Image, Narrative, & Psychoanalysis 9-1 Embodied Resistance Through Textile Practice 9-1 Dialogues in Contemporary Film and Sculpture 9:30-12 The Naturalist Animator 10-12, 2-4 Intro to Drawing Studio 11-1 Redrawing Realities, Social Action 11-1 Redrawing Realities, Social Action 11-1 History & Politics of Typography 11-1, 2-4 History and Aesthetics in Hitchcock 1:30-4 Intro to Drawing Studio 2-4 Representation and Narrative 2-6 Video Installation 2-6 Visual Politics 2-6 Intro to Western Art 3-4:15 Home Strategies: The Sequel 6-8 Drawing for Sculpture 6-8 Still Life Photography 6-10

67

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO ADV ALL GRAD

P H T- 014 5 NEDA MO R I D P O U R

DI R ECT E D STU D Y

A RT & S O C IA L J USTIC E

This course consists of several one-on-one meetings in which a student will meet individually with the faculty over the semester to further develop and expand their interests and the skills they have acquired in addressing social justice through their work. Students will develop their own work and receive individual feedback sessions with faculty.

They are asked to present a statement of intent including expected output at the first meeting. At the end of the semester they will complete and summarize the work they proposed. Students who have taken Socially Engaged Art are encouraged to take this course. Intermediate to advanced.

2

SHU

1X

9 am - 11 am

1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

SPRING 2021

68

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO ADV ALL GRAD

D I G - 01 02 KURT RA L S K E

4

THE ART OF THE FAKE

SHU

9 am - 1 pm

1Y 1Z 2X

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).

SPRING 2021

1X

2Y 2Z 3X 3Y 3Z

69

Wednesday

T hursday

DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO

PA I - 0 0 03 - 02 ANGELINA GUALDONI

4 Section 2

SHU

9 am - 1 pm

INTRODUCTION TO PAINTING

1Y 1Z 2X

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.

SPRING 2021

1X

2Y 2Z 3X 3Y 3Z

70

T hursday

DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO ADV ALL GRAD

P H T- 0149 RACHELL E M O Z M A N - S O L A N O

IMAGE, NARRATIVE, & PSYCHOANALYSIS 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 Psychoanal-

ysis, 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.

4

SHU

9 am - 1 pm

1X 1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

SPRING 2021

71

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO ADV ALL GRAD

S C P - 01 51 SAMANT H A F I E L D S

E MB ODIED RES ISTANC E T H RO U G H T E XT ILE PRACT I C E

4

SHU

9 am - 1 pm

1X 1Y

“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?

SPRING 2021

1Z 2X 2Y

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 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.

2Z 3X 3Y 3Z

72

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO

VM S - 0 0 91 SILVIA BOTTIN E L L I

DIA LO GU ES IN CONT E MP ORARY FILM & S C ULPTU RE S I NC E 1 9 6 0

TINA WASSERMAN

A foundational inquiry focusing on the histories of and interdisciplinary resonances between sculpture and film from the second half of the twentieth century to the present day. This course examines the linked and interconnected ways in which sculpture and film create a dialogue with one another. Our parallel inquiries will lead us through New Wave Cinemas, Pop Art, Minimalism, Post minimalism, Feminism, Ready made sculpture in the 1980s, Act Up and Queer Film and Sculpture, and Post-colonialism. Our inquiry into film and sculpture will be paired with noteworthy critical texts that engage in a variety of methodologies and analyses while positioning each discipline within interpretive and historic contexts, including theories of postmodernity, feminism, queertheory, post-colonialism, trauma studies and more.

3

SHU

1X

9:30 - 12 pm

1Z 2X 2Y 2Z 3X 3Y 3Z

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENTS IN INCOMPATIBLE TIME ZONES SPRING 2021

1Y

73

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

M D I A- 0114 ALL

JOEL F R E N Z E R

THE NATURALIST ANIMATOR

Theme: Documenting your “environment” through animation. This class will examine the work of naturalists and artists throughout history and how close observation of the natural world motivated new discoveries and “ways of seeing.”

Students will keep a written journal of observations of nature in their homes, yards, parks, etc., visually capture these observations frame-by-frame, record audio of their examinations, and learn how to combine all the elements into a final moving image presentation. For the purposes of this class “Nature”, in this context, can be broadly interpreted. Objects, people, behavioral patterns, relationships, emotions, etc., can all be natural elements in each student’s specific environment.

A collaborative project, with Ethan Murrow’s Intro Drawing class, will also be incorporated into this course. Each class will meet remotely for 30 minutes at the start of the class, followed by independent production / viewing assigned screenings / individual meetings with professor throughout the period, then meet remotely for 30 minutes at the end of class.

SPRING 2021

4

SHU

1X

10 am - 12 pm 1Y 1Z 2X

2 pm - 4 pm

2Y 2Z 3X 3Y 3Z

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENTS IN INCOMPATIBLE TIME ZONES

74

Tuesday

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

ART HISTORY CREDIT

EULOGIO GUZMAN PETER SCOTT

V M S - 01 92

REDRAWING REALITIES:

P RT- 01 8 0 STUDIO CREDIT

ALL

3 4

SHU

SHU

1X 1Y

11 am - 1 pm

Social Action in the Art of the Americas, 1500 to the Present

1Z 2X 2Y

Visual Culture provides an essential view into the social conditions that shape society.

This class explores many of the most salient material and visual culture objects in the history of colonialism for the Americas, 1500 to the present, as a means of investigating how art has and continues to function(ed) as social action and the ways artists have helped bring, facilitate, heal, enact social change.

Many studies focusing on the conquest of the Americas and the ensuing colonial experience in the Spanish colonies emphasize the establishment of European ideals over Amerindian subjects and their visual culture.

This univocal focus has created a historical SPRING 2021

record which privileges an imperial (male) view of power as singular in experience. An assessment of the many forms visual culture took in the aftermath of the conquest of the Americas and then through its respective national transformations form independence through revolutions and present democratic adjustments shows there was no singular colonial experience. This course examines the socio-economic, cultural and political factors that created new realities and wide ranging colonial experiences for those who have populated the American Continent and survived, endured and adapted to the changing colonial powers. Studio components in this class allow

students to learn from the vastly creative corpus of works which were generated often in oppressive social conditions. The visual reassessment will allow the class to reflect on the power of image to transcend what has often been characterized as centuries of oppression to recognize the ways art redrew new realities and contributed to formulating more inclusive environments. Open to all levels.

Students may take this course for Art History credit or for Studio credit, or for both.

However, to receive full credit for both (7 SHU), students must complete all respective assignments for both the VMS and Studio sections.

2Z 3X 3Y 3Z

75

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

GRA- 0179 CHANTAL Z A K A R I

ALL GRAD

4

SHU

1X 1Y

11 am - 1 pm

HISTORY & P OLI TIC S OF TY P O GRAPH Y SPRING 2021

Typography carries a Eurocentric history from Garamond to Helvetica. Starting with the calligraphic forms of the Romans, to Guttenbergâ&#x20AC;&#x2122;s first movable font, to Modernism, Post-modernism and ending with contemporary trends, students look at sample font faces, study their design and how they connect to cultural and political ideologies of their times.

Question whether Canada 150 represents Decolonialism, the same way Didot embodied ideas of the Enlightenment, and Futura the ideology of Fascism.

The course is structured in two modules: seminar/ studio. Studio covers Illustrator, InDesign, Photoshop and font creation software. Open to all levels.

1Z 2X

2 pm - 4 pm

2Y 2Z 3X 3Y 3Z

76

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

VM S - 01 0 0 TINA WA S S E R M A N

H ISTORY & AESTH ETI C S IN HITCH CO C K This course will provide the student with a critical investigation into the cinematic work of Alfred Hitchcock. The presentation of Hitchcockâ&#x20AC;&#x2122;s films will be paired with noteworthy essays that engage in a variety of methodologies and analyses while positioning them within critical, interpretive and historic contexts. Using close textual readings, we will investigate the various historic, aesthetic, thematic and formal concerns threaded throughout his cinematic work. In our study we will examine his skillful narrative coding of the suspense thriller using point-ofview/spectator identification techniques, his powerful but often problematic representation of women, the patterns of looking and voyeurism inscribed in his work and much more.

SPRING 2021

INTRO INT ADV ALL GRAD

3

SHU

1X 1Y 1Z 2X 2Y

1:30pm-4pm

2Z 3X 3Y 3Z

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENTS IN INCOMPATIBLE TIME ZONES

77

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO

D RW- 0 01 8 RIA BRO D E L L T B A

INTRO TO DRAWING STUDIO 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 Drawingâ&#x20AC;&#x2122;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.

SPRING 2021

2

SHU

1X 1Y

Section 1

11 am - 1 pm

1Z 2X

Section 2

2 pm - 4 pm

2Y 2Z 3X 3Y 3Z

78

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

D RW- 0114

INT

TBA CONTAC T E T H A N M U R R O W WITH Q U E S T I O N S

REPRESENTATION AND NARRATIVE This studio course explores the employment of narrative in observational forms of drawing and/or painting. Topics and readings include historical and contemporary texts, graphic novels, animation, film, and theatre. We will examine the use of character, story, arc, structure, and the lack there-of in works of fiction and non-fiction drawing.

A broad range of media and methods will be discussed and used. There will be regular critiques and discussions to help support studentâ&#x20AC;&#x2122;s projects.

4

SHU

1X 1Y 1Z

2 pm - 6 pm

2X 2Y 2Z 3X 3Y 3Z

SPRING 2021

79

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

M D I A- 01 0 4 ALL GRAD

MARY E L L E N S T R O M

4

SHU

VIDEO INSTALLATION 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 SPRING 2021

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 studentsâ&#x20AC;&#x2122; work. During each week students will participate in three hours of synchronous and 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 studentâ&#x20AC;&#x2122;s individual artworks-in-progress.

1X 1Y 1Z

2 pm - 6 pm

2X 2Y 2Z 3X 3Y 3Z

80

T hursday ALL DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

S M FA- 0117

ADV

KARMIM A D E E B O R A M C M I L L A N

VI S UA L P OL I T I C S This Advanced studio / seminar course discusses topics related to the visual politics of contemporary art, specifically as these issues intersect with women, people of color and marginalized voices. This class is designed to expand studentsâ&#x20AC;&#x2122; research and writing skills and examine discourse in the seminar portion of the class as a platform for independent creative projects in the studio portion. This is an interdisciplinary course and students from any art department may take this course as long as they have completed 2 intermediate courses or more in their field of study. This includes painting, drawing, sculpture, performance, printmaking and sculpture prior to enrollment and being engaged in ongoing independent studio projects.

SPRING 2021

GRAD

4

SHU

1X 1Y 1Z

2 pm - 6 pm

2X 2Y 2Z 3X 3Y 3Z

81

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

PRT SCP VMS INTRO ADV ALL GRAD

VM S - 0 0 02 FAH - 0 0 02 EMILY G E P H A R T

34

SHU

I N T RO TO W E STE R N ART

1X 1Y 1Z

Thematic survey of major artists, monuments, and materials from the Renaissance to the present. A historic thread underpins an exploration of dominant themes in the Western tradition of visual art including nature, the body, politics and protest, gender, race, representation, and religion. Exploration of pressing contemporary issues like climate change, de-colonization, who is commemorated through public art, the art market, and museum ethics.first meeting. At the end of the semester they will complete and summarize the work they proposed. Students who have taken Socially Engaged Art are encouraged to take this course. Intermediate to advanced.

SPRING 2021

2X

3 pm - 4:15 pm2Y 2Z 3X 3Y 3Z

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENTS IN INCOMPATIBLE TIME ZONES

82

Tuesday

T hursday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

P RT- 01 6 5 CAROLYN MUSKAT PETER SCOTT

ALL

4

SHU

HOME STRATEGIES: THE SEQUEL

1X 1Y 1Z 2X 2Y

Your studio as printshop and offi ce. This course is an extension of the fall semester’s “Paper and Print: Home Strategies” course (not a prerequisite, however). This spring version features an amplifi ed focus on printmaking approaches that can be readily employed in the home studio. Techniques addressed include lithography, stencil applications, collage, monotypes, and relief printing, along with related digital supports. In addition, there will be weekly presentations on the logistics of maintaining a home studio and related professional topics: inventory, storage, pricing work, research on cooperative and contract print studios, and applications for grants and residencies.

This course is open to students at all levels.

SPRING 2021

2Z 3X

6 pm - 8 pm

3Y 3Z

83

T hursday

DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO ADV ALL GRAD

S M FA- 01 21 TBD

contact Megan McMillan or Ethan Murrow with questions

2

SHU

D RAW I NG FO R S C ULPTU R E Examines the basic elements that make up our three-dimensional world. Using simple materials such as string, wire, paper, and cardboard, explore the infinite possibilities of line, plane, and volume.

With technical workshops to understand basic additive and reductive techniques, expand the capacity to define complex forms. Explore two-dimensional drawings for three-dimensional thinking. Learn to create technical drawings and make the described object to scale. Open to all levels.

SPRING 2021

1X 1Y 1Z 2X

2 pm - 4 pm

2Y 2Z 3X 3Y 3Z

84

T hursday

DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS INTRO INT ADV ALL GRAD

P H T- 01 0 8 BONNIE D O N O H U E

STI LL LIFE PH OTO G R APHY Still Life Photography will draw from a history of painting, sculpture, photography and video that includes a variety of natural or manufactured materials, and may be extended to documentation of the dead, such as memento mori. Still life may also extend to small tableaux, doll houses populated with drama or boredom, and miniature documentations from the outside world. As the world-wide pandemic draws us to focus more and more on our isolation in our homes or studios,

4

SHU

Still Life Photography provides a rich canvas on which to explore the poetics and problematics of our time. Table-top setups can be constructed at home, in dorms, and in studios, with simple lighting and compositional strategies. Weekly lectures, assignments, readings, and/or discussions related still life photography, its historical precedents, and contemporary manifestations. Basic photography skill expected. Intermediate level.

1X 1Y 1Z 2X 2Y 2Z

6 pm - 10 pm

3X 3Y 3Z

SPRING 2021

85

Friday

DRW-0132 Advanced Drawing Dialogues 9-1

GRA-0191 Creative Activism in Emerging Technologies 9-1

MDIA-0106 Intro to Film (& Video) 9-1 MDIA-0146 Animation Integration 9-1

PHT-0109 Media Culture Now 9-1

PHT-0118 Intermediate Photography 9-1

SCP-0146 Digital Fabrication Studio 9-1

VMS-0020 Interpreting Art 10-12:30

GRA-0183 Artistsâ&#x20AC;&#x2122; Books Today 11-1, 2-4

SPRING 2021

PER-0191 IN & OUT: Working with Visiting Artists in Performance 2-4 VMS-0193 Decolonizing the Academy TBD

86

Friday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

D RW- 01 3 2

ADVANCED DRAWING DIALOGUES

ADV

4

SHU

9 am - 1 pm

1X

CHARLES GOSS 1Y 1Z 2X

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.

SPRING 2021

2Y 2Z 3X 3Y 3Z

87

Wednesday

Friday

DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

G R A- 01 91 ALL

SOFIE HODARA

4

SHU

9 am - 1 pm

C REATIVE ACTIVISM IN EMERGING TECHNOLO GIES 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 SPRING 2021

1X 1Y 1Z 2X 2Y 2Z 3X 3Y

of social resistance through a variety of projects on the web and in augmented reality.

Readings and class lectures will cover works from Steve Lambertâ&#x20AC;&#x2122;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.

3Z

88

Friday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

M D I A- 01 0 6

I NTRO TO FIL M (& V I D EO) NICHOLAS BRYNOLFSON A beginning level studio class introducing the practical and conceptual aspects of the medium ofmoving image using 16mm analog film cameras.

The course covers the basics of 16mm film production using the Bolex camera with black and white film. Film will be processed and scanned and edited digitally in Adobe Premiere. Through demonstrations, practice, and assignments we will explore the functions of the camera, composition, structuring in time and harnessing available light to gain an understanding of the medium. Augmented by critique of studentâ&#x20AC;&#x2122;s work, screenings, readings and discussions, students have the opportunity to both develop and analyze a body of analog film work.

This course is limited to on-campus students only because the film must be processed locally. *NOTE: For Spring 2021, while the class is taught remotely, only 16mm cameras are included in thecourse. In addition to the 16mm Bolex, students may also use their personal video camera.

SPRING 2021

INTRO ADV ALL GRAD

4

SHU

9 am - 1 pm

1X

9 am - 11 am

1Y

11 am - 1 pm

1Z

2 pm - 6 pm

2X

2 pm - 4 pm

2Y

4 pm - 6 pm

2Z

6 pm - 10 pm 6 pm - 8 pm 8 pm - 10 pm

89

3X 3Y 3Z

Friday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

M D I A- 014 6

A N I M ATI O N I N TEGRAT I ON MAYA ERDEL Y I - P E R E Z

INTRO ADV ALL GRAD

4

SHU

9 am - 1 pm

Animation course designed for students specializing in any art medium to re-imagine and re-contextualize their work through animation in a fine-arts context. Taught are various methodologies for integrating animation into their art practice, and setting upa home animation studio. Animation techniques introduced include: stop-motion, handdrawn, direct on film, group experiments, & digital approaches.

Lecture, demonstrations, screenings, work time, virtual field trips and a studio visit with a guest animator. The final project will include a online screening exhibition--with the potential for special socially-distanced public performances, â&#x20AC;&#x153;drive-inâ&#x20AC;? screenings, art walks, boat parades or installations.

Introductory level.

SPRING 2021

1X 1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

90

Friday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

P H T- 01 0 9

INT GRAD

N E D A MORIDPOUR

MED IA C U LTU RE N OW An understanding of how mass media functions is necessary to enact social change. Media representation of the Middle East, global refugee and immigration crisis; Black Lives Matterâ&#x20AC;&#x2122;s protests against Police brutality; US military recruiting from gaming industries for Gulf Wars; history of US presidential elections; reality TV, etc. These images shape both our public policy and private lives. Through readings, presentations, group discussions and studio work we will look critically at the media culture and challenge commercial methods by producing an artist Zine about our vernacular culture. This course is designed as an introduction to digital art-making techniques and skills.

4

SHU

9 am - 1 pm

1X 1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

SPRING 2021

91

Friday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

D RW- 0 0 67 [intermediate]

E V A LUNDSAGER

INTRO INT ADV ALL GRAD

P H T- 011 8 LAUREL NAKADATE

A LTE R E D LAN D S CA PES INTERMEDIATE PHOTOGRAPHY The power and beauty of nature can be a great source for reflection and comfort. Recent research has proven the connection between experiences with of the present moment have The unique conditions nature and feelings of well-being and resilience. provided an opportunity In for this course to focus on topAltered Landscape we will look to the natural world, ic-based lectures and photography assignments. Students wherever and however thatwill canbebe found, seen or with the challenges in their encouraged to engage understood: from city parks own to farmland, winspace andfrom time,asuch as the CoVid-19 pandemic that is dow view to a home garden, likely from to there-emerge study of in indoor the fall, endemic racism, protests, a plants to a massive tree. These siege diverse on visual spaces and printwill journalism, and an upcoming U.S. guide us in our art making,election as a source for materithat promises to be tumultuous. Students will receive instruction a range of photographic solutions, als, inspiration, reflection and imagery.

Field innotes, observational photography to computer-generated mindfulness exercises, and from extended drawings will The course address the great opportunity of a serve as places for studentsworks. to reflect on thewillworld moment that may be pivotal and could upend the longaround and within themselves. societal scourges In addition to drawing, standing work made in the class in play. Students are expected to put in additional hours every week into their photography may incorporate materials found nature including assignments and pigments and other natural materials, as wellreading. as pho-The course will be divided into lecture,actions, critique,and discussion tography, sound and experiential there of readings, and technical instruction.

TechnicalWe instruction may be taught asynchrowill be opportunities for individual pursuits. will nously through pre-recorded tutorials, or synchronously learn about contemporary and historical artworks that throughand demonstrations. respond to nature both physically as a reflectionThe online synchronous portion of to thepainting course should not exceed 50% and may include of inner life, from earth works and drawsome individual meetings with faculty. Introductory phoing to sculpture to solitary performance. tography course or its equivalent recommended.

SPRING 2021

4

SHU

9 am - 1 pm 9 am - 11 am

1X 1Y

11 am - 1 pm

1Z

2 pm - 6 pm

2X

2 pm - 4 pm

2Y

4 pm - 6 pm

2Z

6 pm - 10 pm 6 pm - 8 pm 8 pm - 10 pm

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENT IN INCOMPATIBLE TIME ZONES

92

3X 3Y 3Z

Friday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

S C P - 014 6 FLOOR VAN DE VELDE

INTRO ADV ALL GRAD

4

DI GI TAL FA BR ICATION STUDIO

SHU

9 am - 1 pm 1X 1Y 1Z 2X 2Y 2Z 3X

This intermediate to advanced digital fabrication course assumes that students have some basic knowledge of digital fabrication techniques. The first half of the semester is devoted to an intensive study of a combination of industry standard software packages (Rhino, Fusion360, Adobe Illustrator). During the second half of the semester, students realize their own projects using the technologies available on the SMFA campus: CNC milling, 3D printers, laser cutter, and other digital fabrication tools. Prereq: SCP 103 or permission of the instructor.

SPRING 2021

3Y 3Z

93

Friday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

V MS- 0 02 0

INTRO ADV ALL GRAD

34

INTERPRETING ART:

TOOLS FOR CRITIQUING, CREATING AND CURATING EMILY G E P H A R T

This class explores the apparatus of art analysis and criticism: the theories, philosophies & critical approaches that have been applied to art, new media and visual culture. We will investigate varied modes of contextual and historical interpretation, with an emphasis on the methods that have come to importance particularly in the past 50 years.By reading examples of curatorial, philosophical and art historical writing, by practicing our own writing and by examining comparative case histories of art SPRING 2021

makers and critical writers, we will address such issues as globalism; the origins of taste and aesthetic categories; neuroaesthetics; formalist and socio-cultural approaches; the role of racial justice and radical intersectionality in making & critiquing art; challenges to capitalist commodity culture; decolonization and institutional authority. Students will learn terms relevant to understanding psychoanalytic, feminist, semiotic, post-colonial, ecocritical and new materialist theories.

SHU

9 am - 1 pm

1X

9 am - 11 am

1Y

11am am--12:30 1 pm pm 10 1Z 2 pm - 6 pm

2X

2 pm - 4 pm

2Y

4 pm - 6 pm

2Z

6 pm - 10 pm 6 pm - 8 pm 8 pm - 10 pm

ACCOMMODATIONS MAY BE POSSIBLE FOR STUDENT STUDENTS IN INCOMPATIBLE TIME ZONES

94

3X 3Y 3Z

Friday DIG DRW EDS GRA MDIA PAI PER PHT PRT SCP VMS

G RA- 01 8 3 ALL

A S U K A O H S A W A J E S S E C A F E R G U S O N

ARTISTS’ BOOKS TODAY

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 critique/social protest, as narrative, as memoir and as museum. Binding and image-making demonstrations, workshops and assigned problems will 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, 20th century Avant-Garde books) and drawing upon global traditions (Asian, Middle Eastern, Western), we will explore the history and culture of artist books. As we investigate the work of contemporary practitioners, we will see that the artist book offers a unique context for understanding and responding to the complex realities that surround and inform our daily experience.

This course will encourage and nurture each student’s response as they develop their own perspective in the form of artist books. Complementing the hands-on technical instruction, this course will also feature presentations, visiting artists, readings and critiques.

Open to all levels.

SPRING 2021

4

SHU

1X 1Y

11 am - 1 pm

1Z 2X

2 pm - 4 pm

2Y 2Z 3X 3Y 3Z

95

Monday

Tuesday

Wednesday

T hursday

Friday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS

VM S - 01 93- 03

ADV

TBA CONTACT EULOGIO GUZMAN WITH QUESTIONS

D ECO LO N I Z I N G T H E AC AD E M Y Course expands topics not normally offered and expands the discourse of visual and material culture in the academy by encouraging students to think about collective identity and strategies of decolonization. The class is designed to augment, nurture, and expand the voices in narratives that comprise the study of visual and material culture by drawing connections between past histories and contemporary phenomena, art scenes and exhibition strategies.

3 TBD

SHU

1X 1Y 1Z 2X 2Y 2Z 3X 3Y 3Z

SPRING 2021

97

All images in this booklet belong to the individual artists.

Cover image: Bill Burke from Destructo.

Design production: Cora Armstrong Sara Carter Rayya Chek Luna Doherty-Ryoke Aaron Povenmire Vivian Tran

FOR QUESTIONS REGARDING ACADEMIC ADVISING, CONTACT - SMFAAdvising@tufts.edu FOR QUESTIONS REGARDING REGISTRATION, CONTACT - studentservices@tufts.edu (617) 627-2000 FOR MORE INFORMATION ABOUT A SPECIFIC COURSE, CONTACT THE FACULTY: Danielle Abrams, danielle.abrams@tufts.edu Michael Barsanti, michael.barsanti@tufts.edu Silvia Bottinelli, silvia.bottinelli@tufts.edu Ria Brodell, ria.brodell@tufts.edu Nic Brynolfson, nicholas.brynolfson@tufts.edu Bill Burke, william.burke@tufts.edu Tanya Crane, tanya.crane@tufts.edu David Antonio Cruz, david.cruz@tufts.edu Bonnie Donohue, bonnie.donohue@tufts.edu Maya Erdelyi-Perez, maya.erdelyi_perez@tufts.edu Mia Fabrizio, mia.fabrizio@tufts.edu Jesseca Ferguson, jesseca.ferguson@tufts.edu Samantha Fields, samantha.fields@tufts.edu Billy Foshay, william.foshay@tufts.edu Joel Frenzer, joel.frenzer@tufts.edu

Kay Furst, kay.furst@tufts.edu Emily Gephart, emily.gephart@tufts.edu Charles Goss, charles.goss@tufts.edu Dan Graham, dan.graham@tufts.edu Angelina Gualdoni, angelina.gualdoni@tufts.edu Eulogio Guzman, eulogio.guzman@tufts.edu Nate Harrison, nate.harrison@tufts.edu Andrew Hlynsky, andrew.hlynsky@tufts.edu Kata Hull, kata.hull@tufts.edu Sally Lee, sally.lee@tufts.edu Patte Loper, patte.loper@tufts.edu Eva Lundsager, eva.lundsager@tufts.eduV inny Martin, vincent.martin@tufts.edu Marla McLeod, marla.mcleod@tufts.edu Karmimadeebora McMillan, karmimadeebora.mcmillan@tufts.edu Megan McMillan, megan.mcmillan@tufts.edu Mara Metcalf, mara.metcalf@tufts.edu Neda Moridpour, neda.moridpour@tufts.edu Rachelle Mozman-Solano, rachelle.mozman_solano@tufts.edu Ethan Murrow, ethan.murrow@tufts.edu Carolyn Muskat, carolyn.muskat@tufts.edu Laurel Nakadate, laurel.nakadate@tufts.edu Asuka Ohsawa, asuka.ohsawa@tufts.edu Andrew Perini, andrew.perini@tufts.edu Kurt Ralske, kurt.ralske@tufts.edu Betsy Redelman Diaz, betsy.redelman@tufts.edu Laura Beth Reese, laura.reese@tufts.edu Kendall Reiss, kendall.reiss@tufts.edu Jeannie Simms, jeannie.simms@tufts.edu Anthony Romero, anthony.romero@tufts.edu Rhoda Rosenberg, rhoda.rosenberg@tufts.edu Michelle Samour, michelle.samour@tufts.edu Jennifer Schmidt, jennifer.schmidt@tufts.edu Peter Scott, peter.scott@tufts.edu Ryan Smith, ryan.smith@tufts.edu Adam Spellmire, adam.spellmire@tufts.edu Mary Ellen Strom, mary_ellen.strom@tufts.edu Karli Tucker, karli.tucker@tufts.edu Tina Wasserman, tina.wasserman@tufts.edu Floor van de Velde, floor.van_de_velde@tufts.edu Chantal Zakari, chantal.zakari@tufts.edu

98