SMFA at Tufts Spring 2022 Course Catalog

COURSE CATALOG Spring 2022

A note regarding work expectations: For a 4 SHU Studio Art course, the overall work expectation for each student is a minimum of 12 hours invested per week (4-6 hour block + 8 additional hours of course work).

For a 2 SHU Studio Art course, the overall work expectation for each student is a minimum of 6 hours invested per week (2-3 hour block + 4 additional hours of course work).

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

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

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Updates Changes are marked in red

Updates as of December 13, 2021 Cancelled: ENGS-0002-02 English II, Tuesday & Thursday 7:30-8:45pm Cancelled: PER-0130 Styles of Live Art, Thursday 9-1pm Cancelled: SCP-0191 / DRW-0191 Special Topics: Drawing Machines, Friday 9-1pm

Updates as of December 3, 2021 DRW-0013-01 Intro to Drawing Studio, Wednesday 5-7pm (Medford) VMS-0193-01 Negotiated Perception: Photo History, Monday 10:30-1pm VMS-0193-02 Directions in Contemporary Film, Tuesday 5-7:30pm VMS-0193-03 Film Analysis in a Global Context, Monday 4-6:30pm Newly added: PHT-0111 Intro to Digital Photography, Wednesday 2-6pm Newly added: PRT-0193 Special Topics: Photo Litho: Proofing to Production, Wednesday 5-9pm Newly added: SCP-0137 Ceramics Sculpture, Wednesday 2-6pm Cancelled: PHT-0191 Special Topics: Landscape Photography & Politics, Wednesday 2-6pm Cancelled: PRT-0111 Collaborative Print, Thursday 9-1pm, 2-4pm Cancelled: SCP-0137 Ceramics Sculpture, Wednesday 2-6pm Cancelled: SCP-0148 Relational Placemaking: The Emerald Necklace, Friday 2-6pm Cancelled: VMS-0024 Introduction to Western Modern Sculpture, Thursday 9-11:30am

Updates as of November 15, 2021 GRA-0126 Design for Social Change 1, Wednesday 10:30-1pm, 2-4:30pm GRA-0127 Design for Social Change 2, Friday 10:30-1pm, 2-4:30pm PER-0191 Special Topics: Visiting Artists in Performance, Tuesday 11-1pm, 2-4pm PRT-0115 Big Print, Thursday 9-1pm, 2-4pm SMFA-0196, Directed Study, Friday 11-1pm VMS-0024 Introduction to Western Modern Sculpture, Thursday 9-11:30am Newly added: SCP-0191 Special Topics: Nonbinary Objects, Friday, 2-4pm

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Graduate Courses Graduate Group Critique

Graduate Individual Critique

Tanya Crane, Angelina Gualdoni, Katherine Shozawa SMFA-0203 3 SHU Section 1: Monday 2-5pm (Tanya Crane) Section 2: Wednesday 9-12pm (Katherine Shozawa) Section 3: Wednesday 4-7pm (Angelina Gualdoni)

Jane Gillooly SMFA-0205 3 SHU, Monday 6-9pm

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

both preparing for their review boards and preparing for the defense of their thesis. All first and second year Master of Fine Arts students are required to take this course each semester.

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

Graduate Internship Ryan Smith SMFA-0270 2-5 SHU Internships for Studio Credit are an important part of SMFA at Tufts University’s studio arts curriculum and a great complement to your studio training. Whether your internship is with a commercial design firm, an education program, a community garden, a new media facility, a non-profit arts organization, a gallery venue, or a professional artist's studio, you will acquire valuable skills and develop new insights into your chosen creative path. Tufts Career Center staff offer extensive support and guidance along the way. Interns also participate in a two-part evaluation process, documenting rigorous self-reflection that advances professional goals and maximizes learning outcomes. This credit-bearing option is available to students in the Studio Diploma, BFA, and

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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.

Post-Baccalaureate Courses Post-Baccalaureate Seminar Karmimadeebora McMillan SMFA-0191 2 SHU, Friday 10-12pm The Seminar is a mandatory core component of the curriculum for post-baccalaureate students, who take it both fall and spring semesters.

Content is determined by the needs of the class and changes from fall to spring. The seminar includes professional presentations, student presentations, directed group discussions and writing projects, critiques of work, and visits to museums, galleries, collections, and other sites.

We discuss the work and ideas of class members in the context of broad issues such as the role and purpose of art making, the practice of art as a career, and the perspectives currently under discussion in art criticism and theory. Emphasis is on group collaboration and peer support for individual artistic development. To keep discussion groups small, faculty lead separate seminar sections. (These groups occasionally hold meetings together.) Be ready to talk at the first class about your ideas and needs in your

artwork, school, and prospective career, so that we can plan the semester's content.

Post-Baccalaureate Consultations Karmimadeebora McMillan SMFA-0191 2 SHU, Friday 1-3pm Individual critique sessions promote and foster abundant work and rapid progress by helping you deepen an understanding of your art, creative process, and work methods through focused critical feedback at regular intervals.

Students meet individually with the instructor several times during the semester for critiques, to present works in progress, and to discuss emerging issues of individual interest. These 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.

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Undergraduate Guided Studies Undergraduate Internship

Senior Thesis

Ryan Smith SMFA-0070 2-5 SHU

Kendall Reiss, Anthony Romero, Emily McDonald SMFA-0093 4 SHU, Friday 9–1pm Advanced

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

Transfer students must consult with Academic Affairs to determine eligibility.

Senior Thesis provides a platform for the development of an ongoing independent art practice. Program spans two continuous semesters, constructing a year-long trajectory of research, writing, art-making and career-building centered around critiques with program faculty, visiting artists, and arts professionals. Students are challenged to explore their own individual interests and practices, within the context of a group of peers and faculty, towards the goal of developing a comprehensive thesis project.

Independent studio work required throughout the year; students should expect to dedicate at least 6-12 additional hours per week outside of synchronous class meetings to work on the development of their studio practice.

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

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

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

Directed Study John Ros SMFA-0196 2 SHU, Friday 11-1pm Advanced level One-on-one meetings with faculty and group meetings over the course of the semester to critique work, assess progress, and develop mentorship. Critique sessions promote and foster abundant work and rapid progress, deepening understanding of the creative process and work methods. Prior to 1st meeting, student must present a statement of intent, quantifying expected output, topics of interest and goals. At the end of the semester students summarize their work via an all class critique that includes a developed artists statement. Upper classmen and advanced students (MFA, Post-Baccalaureate, Diploma or Third and Fourth year BFA Students). Faculty permission required.

Digital Media The Art of the Fake Kurt Ralske DIG-0102 4 SHU, Tuesday 9-1pm All levels This hybrid studio / seminar course explores “the fake” as an artistic strategy and a cultural phenomenon. Students learn 3D software (Cinema 4D, Photoshop) to create images and videos that appear convincingly photo-realistic, but have no correspondence to reality. We

survey artists whose work involves forgery, false identity, sham narrative, artificial drama, pranks, white lies. The relationship between images and beliefs is explored through seminar discussion of philosophical texts (Latour, Lacan, Flusser, Sontag). We consider “the fake” in both its negative dimensions (political manipulation) and positive (the generative power of imagination).

Open to all levels.

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Building Utopia Kurt Ralske DIG-0103 4 SHU, Monday 2-6pm All levels This hybrid studio/seminar course explores utopia (and dystopia) as a theme for imaginative artwork. Using the software Cinema 4D to digitally sculpt custom 3D models and the VR software Unity, we build 3D worlds that are interactive, navigable, inhabitable. The idea of utopia is considered both as a political question (“How should we all live together?”) and on an individual level (“What do I actually want?”).

Seminar discussion, based on literary, political, and philosophical texts, develops perspectives that are usefully applied to the studio work done in the course. We discuss our dreams, then we build them in 3D.

[En]Coded Type: Computational Craft, Digital Terrains + Motion Designed Space Triton Mobley GRA-0134 / DIG-0134 4 SHU, Monday 2-6pm Intermediate level [En]Coded Type: Computational Craft, Digital Terrains + Motion Designed Space: From the Dotonbori River to Time Square—the Bund to Piccadilly Circus—we will examine the productions of type[ography] + design and the near infinite abilities of the medium to render fluid motion through static production outputs.

As we creatively meander through the last

century of type[opgraphic] history—over the course of the semester students will research, iterate, and craft a collection of type[ographic] designs—filtering influences of cinema, biomimicry, and architectural [a]symmetry through computational praxis. Intermediate level.

Experimental 3D Animation Cristobal Cea MDIA-0151 / DIG-0151 4 SHU, Monday 2-6pm Introductory level This beginning course will address foundational elements of 3D animation and modeling using Blender. Through a series of exercises that introduce basic concepts in 3D animation, students will embrace new challenges within this ever-expanding field. Experimenting with classic concepts like rigging, texturing, and camera movement, while also dealing with new approaches that involve 3d scanning, simulations, motion capture, and hybrid methods in this developing area of digital animation.

America Imaginaria / America Reimagined Cristobal Cea DIG-0153 4 SHU, Wednesday 2-6pm Introductory level Through in-class exercises on character design using the open-source software Blender and its various animation and sculpting tools, we will explore the theme of monstrosity with a special

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emphasis on the “American Bestiary”: an assemblage of fictional beings described by European conquistadores, such as Sir Walter Raleigh, during their first encounters with a culture and land they could only describe in terms of their own fears and prejudices. During the course we will explore the abandoned

narratives of these so-called monsters and recreate them using 3D Animation Software. At the end of the course, we will use motion capture to create a series of short films that reclaim the notion of monstrosity as a tool for understanding ourselves. No previous experience require

Drawing Observational Figure Drawing

Intro to Drawing Studio

Ria Brodell DRW-0007 2 SHU, Tuesday 2-4pm Introductory level

Justin Life, Boyang Hou DRW-0013 Medford 2 SHU Section 1: Wednesday 5-7pm (Justin Life) Section 2: Monday 2-4pm (Boyang Hou) Section 3: Monday 5-7pm (Boyang Hou) Introductory level

Learn different fundamental approaches that, if mastered, contribute to dynamic figure drawings. Each class focuses on a skill to be developed (gesture, contour, structure, form) by observing nude models in various poses, settings, and light conditions. Short lectures are followed by demonstrations, after which you will incorporate the skill into your drawing repertoire as the instructor works with you individually. Each class becomes a building block for the next; which when used together propel you to new levels of skill and mastery.

We introduce new media, problems, and experiments as the semester advances and you develop their own unique approaches to drawing the nude.

Drawing Studio is an introductory drawing course focusing on the development of skills and techniques. Because of the current crises our focus will be on materials, methods, exercises and projects that are easily accessible to students. We will have an outward focus on our communities, meaning we will pursue projects that consider Drawing’s role in our current climate and how it can be used to communicate, help and add to contemporary discourse even in times when we do not have the same freedom of movement we might be accustomed to. For example, students will build correspondence-based drawings and zines to

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send to others. We will build these projects in tandem with our exploration of the fundamental approaches to observational drawing such as line, mark making, perspective, space, tonal value, composition, point of view, proportion, and measurement. Strong composition, clear communication and exciting design will be emphasized through a combination of focused exercises, projects, demonstrations, critiques, and individual instruction. Drawing Studio is ideal for students new to drawing and for those interested in improving their artistic practice.

Introductory course open to all levels.

Intro to Drawing: Intensive Ethan Murrow, John Ros DRW-0018 4 SHU Section 1: Wednesday 2-6pm (Ethan Murrow) Section 2: Thursday 2-6pm (John Ros) Introductory level Intro to Drawing Intensive is a comprehensive introduction to drawing techniques, strategies and materials. This is a gateway course for all students interested in interpreting and responding to the world through drawing.

During the semester, students will build strong technical and perceptual skills through direct observation and rigorous practice. Drawing is also a way of thinking with the body and as a conceptual practice it overlaps many areas of art activity. Through projects and prompts, students will evolve an understanding of the unique opportunities for transformation and expression that drawing provides. Coursework will include demonstrations, presentations, exercises and assignments. Introductory course open to all levels.

Intro To Interdisciplinary Drawing Boyang Hou DRW-0028 4 SHU, Tuesday 9-1pm Introductory level Preparation for students interested in pursuing interdisciplinary practice and is designed to focus on the use of drawing as a bridge to other media such as sculpture, video, performance, and research. While remaining based in essential drawing tools, this course explores experimental processes and includes the use of digital technology in planning and concept development as well as the ability to address the multi-area development of laser and 3-D printers. Coursework will include in-class demonstrations, presentations, exercises and assignments. Homework will be assigned.

Students will be required to purchase materials.

Advanced Drawing - Large Scale Ethan Murrow DRW-0120 4 SHU, Wednesday 9-1pm Advanced level This is a class for students with a background in drawing, painting, print and installation based practices. It will offer opportunities for students to expand and consider the physical range of their drawings in relationship to place, space and viewers. We will explore techniques and strategies for working at large scale, whether in traditional media or in more temporal installation based approaches. The class will be

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organized around three core projects. The first will examine the viewpoint of the audience in relationship to the conception and depiction of the figure within a large format drawing piece.

The second will look into the ways we can use non-traditional media such as projections, found objects, mist, dirt or sound to deal with the constraints of light, space and architecture. The third will examine methods of working with drawing in public, whether that be collaborative or intervention based situations. For example students might propose and make wall drawings, murals, drawing machines, activism related works, pranks, environmental or site based alterations, performances and so on. This class will require students to consider a broad range of material, technical and conceptual options within their work with the goal of broadening an understanding of what drawing is and can be. It will also offer opportunities for students to build their professional skills as we focus on the language, text and discussion surrounding the proposal, presentation and documentation of projects, no matter the setting.

Recommendations: introductory figure drawing or painting classes.

Intermediate Figure Drawing: Real People

Advanced Drawing Dialogues

Mara Metcalf DRW-0123 4 SHU, Monday 9-1pm Intermediate level Emphasis on portraying the individual over the archetypal “nude” model. Focus on narrative and personal direction and how we communicate through body, clothing, posture, and environment.

Wet and dry color media such as pastel, ink, and gouache. Readings focus on issues of representation and collective history. Viewing contemporary artworks will highlight the larger context and complexity of figuration today.

Political and Historical Gesture David Cruz DRW-0124 4 SHU, Tuesday 9-1pm Intermediate level Intermediate Figure Drawing course examines fundamental properties of figure drawing through the study of political and historical gestures and poses. Informed by research and discussion of relevant political essays such as James Baldwin. Moving images, documentary photographs, painting, and other mediums used as examples for sources for weekly poses.

Recommendations: One introductory course in Drawing or Painting strongly recommended.

Charles Goss DRW-0132 4 SHU, Friday 9-2pm Advanced level For advanced students developing independent projects in a broad understanding of contemporary drawing. Relationships with content, strategies, contexts and concept explored and shared. Coursework includes 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. Mid-term and final critique.

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Advanced level course. At least one previous intermediate drawing course recommended.

Advanced Drawing: Drawing Now Eva Lundsager DRW-0135 *Grad Seminar* 4 SHU, Wednesday, 2-6pm Advanced level Investigate issues in contemporary drawing and build new understandings for the possibilities of the medium both methodologically and conceptually. Discussions, investigations, presentations and studio projects will touch on the breadth of definitions, approaches, understandings and outcomes for contemporary artists who define their practice within the realm of drawing. Drawing topics include systems and technology, environment and ethics, linguistics and narrative, activism and the public, scale and site, economics and material, design and functionality. Studio projects will grow out of these discussions and topics.

The Bridge Charles Goss DRW-0161 4 SHU, Thursday 9-2pm Advanced level The Bridge will access your personal sources and suggest pathways and strategies to connect and clarify your relationship with individual studio practice and contemporary ideas. We begin with drawing as a descriptive, intuitive, and expressive tool for exploration and research.

Then we expand to mixed-media, actions, objects, installation and the digital toolbox. The

focus is on trusting your intuitive process along with planning and executing work with developed ideas and direction. We will conduct in-class projects with discussions, work out of class and and design a final project. We will study other artists and learn how they express and visualize their unique ideas. There will be one field trip to the galleries and museums and meet one visiting artist. This course is recommended for all levels of students who would like to jump-start to their work.

Art as Process Kata Hall DRWM-0003 2 SHU Section 1: Friday 9:30-12:30pm Medford Section 2: Wednesday 6:30-9:30pm Medford All levels For students who want to transform and develop their artistic practice and visual awareness.

Intensive studio class that focuses on experimentation and the creative process rather than a pre-imagined or calculated end product.

Each week a different project is introduced, worked on and completed. Explore painting, drawing, sculpture, installation and other disciplines and media with an eye toward investigating unique ways of making art.

Abstraction, Realism and Conceptual approaches addressed and explored through a variety of hands-on projects. Individual and collaborative exercises challenge students to broaden their awareness of personal and assimilated beliefs, conceptual ideas and autobiographical content through the use of metaphor, symbol and unconventional media. Class discussions, readings, presentations and field trips (when possible) supplement studio practice and look at art making in context of historical, cultural and contemporary issues. Interactive, participatory nature of Art as

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Process enables students coming from diverse areas of study to expand and enrich their perspectives of the broader community.

Particularly useful for those interested in exploring and developing their own creative abilities, assembling a portfolio or exploring the idea of a professional art career. Open to all, from absolute beginners to advanced artists. Excludes BFA, MFA, and SMFA Post Bac students.

Drawing: Introduction Mela Lyman DRWM-0024 2 SHU, Friday, 1:30-4:30pm Medford Open to all levels Drawing is a basic skill through which visual ideas and feelings take form. This introductory course explores drawing as a means of learning to see.

Through the basic visual elements that define shape we will explore the tools that give expression to artists' feelings and ideas, representations, patterns and abstractions, sketches, plans and other uses, (e.g. earthworks, sculpture, design projects, etc.) Traditional methods of observational drawing, including systems of perspective, will be addressed through the use of live models, still life, design problems.

A variety of media will be explored: charcoal, erasers, sumi ink, and paper. Current methods and approaches to drawing will be viewed and shared in the class work and digitally. Ongoing references to recent and historical drawing are part of our curriculum; from cave drawing to animation. We will have field trips drawing outside and visiting museums. Attendance is essential for developing ideas and honing skills; group discussions and critiques an ongoing inspiration. This course is open to beginners and experienced artists. This course is open to all LA + EN undergraduate students. Excludes BFA, MFA, and SMFA Post Bac students.

Drawing: Foundation Justin Life, Greg Mencoff DRWM-0026 Medford 4 SHU Section 1: Monday and Wednesday, 1:30-4:30pm (Justin Life) Section 2: Monday and Wednesday 7-10pm (Greg Mencoff) Introductory level Drawing is an ancient and universal practice as well as an aspect of visual thinking. Working from direct and indirect observations, students will develop the confidence to evaluate shape, line quality, value, composition, and how the critical choice of materials will impact an idea. Drawing Foundations introduces drawing as a practice of observation. We approach the illusion of space and form through formal analysis and subjective interpretation. Foundations examines the multiple functions of drawing across time and culture as well as emphasizing the breadth of the drawing experience and its application across disciplines.

The course provides a format for a focused exploration of drawing practice as an instrument of communication, a source of ideas and an opportunity to risk and move beyond one's current abilities and notions. This course is open to all LA + EN undergraduate students. Excludes BFA, MFA, and SMFA Post Bac students.

Drawing: Mixed Media Patrick D. Carter DRWM-0027 4 SHU, Tuesday and Thursday, 1:30-4:30pm Medford

All levels

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Builds on the historical traditions of drawing while introducing a variety of artists and approaches to the processes of drawing. Tailored to the individual’s sensibilities and natural inclinations, students experiment with pencil, pen, charcoal, color pastels, and water-based paints (gouache, watercolor or acrylics). Enables students to produce a body of work with a personal vision.

Includes virtual and/or in-person visits to Boston (MFA) and Cambridge art museums. Level: Designed for students at all levels and a desire to experiment with the language of marks and stains while exploring a variety of dry and wet materials.

Open to all LA + EN undergraduate students.

Excludes BFA, MFA, and SMFA Post Bac students.

Figure Drawing Mela Lyman DRWM-0035 2 SHU, Thursday 9:30-12:30pm Medford All levels Builds on the historical traditions of drawing while introducing a variety of artists and approaches to the processes of drawing. Tailored to the individual’s sensibilities and natural inclinations, students experiment with pencil, pen, charcoal, color pastels, and water-based paints (gouache, watercolor or acrylics). Enables students to produce a body of work with a personal vision.

Includes virtual and/or in-person visits to Boston (MFA) and Cambridge art museums. Level: Designed for students at all levels and a desire to experiment with the language of marks and stains while exploring a variety of dry and wet materials.

Open to all LA + EN undergraduate students.

Excludes BFA, MFA, and SMFA Post Bac students.

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

Special Topics: Theme Drawing: Fabric of a Nation Paola Page DRWM-0093 2 SHU, Tuesday 12-4pm Medford All levels Examine and record creative strategies to build a body of work in conjunction with a current MFA exhibition, “Fabric of a Nation”. Investigate, generate, appropriate ideas and images to form

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layers of content that overlap, contradict, or converge with original theme. Learn to navigate toward painting through collage, mixed media and color studies. Uncover art historic associations to expand the narrative. Coalesce results with content for final work on paper -to be included in a curated

exhibition. Studio classes encourage robust conversations and a collaborative spirit.

Expectation- highly individual, thought provoking, visually and thematically compelling final projects.

Prior experience-Drawing Foundation.

Art Education Art Education with Special Populations Kay Furst EDS-0122 3 SHU, Monday, 5:30-8:30pm All levels 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 educator’s role in asking questions such as: What counts as art? Who counts as artist? and What counts as knowledge?

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English English II: Differences / Digital Media Cultures Dan Graham, Stephen Muscolino ENGS-0002 3 SHU Section 1: Tuesday & Thursday 6-7:15pm (Dan Graham) Section 3: Monday & Wednesday 6-7:15pm (Stephen Muscolino)

Introductory level Composition course with primary emphasis designed to provide a foundation on student’s own writing. Choice of topics drawing on various materials including fiction, essays, films and other visual and aural texts in an interdisciplinary manner. Prerequisite: English 1 or 3.

Graphic Arts Media Culture Now Neda Moridpour MDIA-0182 / GRA-0103 4 SHU, Tuesday 9-1pm Introductory level An understanding of how mass media functions is necessary in order to enact meaningful social change. The media representation of a drowned Syrian boy and refugees; the Black Lives Matter activists; The US military recruiting from gaming

industries for Iraq and Gulf Wars; The previous US presidential elections; reality TV, etc. These images shape both our public policy and private lives. Additionally, between TV, radio, newspapers, magazines, internet, mobile phones, billboards and LED displays, we see between 250 to 3000 ads per day. These are just a few stories that indicate how text has expanded from the merely literary to all forms of cultural production, and how mass media has come to be a powerful means of expressing culture, which ‘frames’ our everyday life. Through readings, presentations,

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group discussions and studio work we will look critically at the media culture. We will examine texts from Shanti Kumar, Erving Goffman, Jackson Katz, John Berger, Naomi Klein, Jean Kilbourne, Guy Debord, Adbusters, The Onion, fashion magazines, and activist art. These readings will create the structure for studio work as well as challenging commercial methods by producing work about our vernacular culture. This course is designed as an introduction to digital art-making techniques and skills. Non-SMFA students and MAT Art Education students will receive a letter grade.

Codex in Context: Artist’s Book Seminar Chantal Zakari GRA-0109 *Grad Seminar* 4 SHU Tuesday, 10:30-1pm, 2-4:30pm Intermediate-Advanced level Codex in Context: Artist's Books Seminar will give you an overview of the contemporary artist’s book starting from the 1960s to today.

We will look at a variety of genres of photobooks, visual literature, picture books, graphic novels, formal explorations, zines and other forms of printed ephemera by artists who are dedicated to making/designing democratic, cheap and accessible art objects. Each meeting will focus on a different structural theme to help analyze books from the vast collection in the SMFA library. We will discuss readings about bookworks, while students will also be working and receiving feedback on their own artist’s publication.

At least one class in graphic arts and the prior design and production of one artist’s book is required. Bring your book to the first day of

class. Advanced level undergraduates, graduate students, post-bac students, or permission of instructor. Non-SMFA students and ILVS students will receive a letter grade.

Creative Activism: Emerging Technologies Jeff Soyk GRA-0112 4 SHU, Thursday 11-1pm, 2-4pm Intermediate-Advanced level Consider the opportunity as designers to subvert, amplify, resist, intervene, disobey, and protest in favor of principles that matter on a personal level, as well as a collective community level. This course explores the power of public activism through design interventions. It examines criteria for successful and socially conscious activism via the web, augmented reality, projection, sound, and more.

Core Design Praxis: Experiments in Digital Fabrication for Graphic Designers Triton Mobley GRA-0115 4 SHU, Tuesday 11-1pm, 2-5pm Introductory level Core Design Praxis: Experiments in Digital Fabrication for Graphic Designers: Design praxis and its associated apparatuses—can force us to have physiological responses to our respective material world(s) in ways we

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sometimes cannot predict nor control. In this course we will conduct experiments in craft through color production, typographic composition, and computation—meandering our way to a creative apex of architecturally inspired fabrications. This course will be grounded in practical skill building, functional ideation, and critical craft making. Pushing the limits of graphic design fabrication—breaking some established rules along the way and leaving a trail of our own epistemological scaffolding for creative making.

Flora and Fauna Ria Brodell PAI-0110 / GRA-0121 4 SHU, Wednesday 2-6pm Intermediate An exploration of flora and fauna as broad themes in contemporary and historical art.

Potential cross over into other subjects such as climate change, biology, gender, environmental conservation etc. Topics such as naturalist field notes will include the history and context of different taxonomies resulting in opportunities for individual research and pursuits. A broad range of media and methods will be discussed and used. Regular critiques and discussions will help to support student’s projects. Designed for Intermediate level students. One previous introductory painting or drawing course recommended.

Narrative in Sequential Art Thyra Heder GRA-0123 4 SHU, Monday 2-6pm Introductory level This course will explore different structures of sequential art, and examine how to create a successful narrative. Spanning comic strip art, graphic novels, children's picture books and storyboarding for film, weekly assignments will challenge students to create engaging stories in a variety of formats and mediums, with an emphasis on the personal. By examining works across genres from artists like Lynda Barry, Jillian Tamaki and Walter Scott, to contemporary picture books by Christian Robinson, Carsen Ellis and Catia Chien, students will analyze and exercise ways to pull emotions from a set of images. In-class workshops will develop drawing skills, as well as a facility with problem solving, editing and revising. Computer tools that apply specifically to sequential art such as page layout, panel design, will be covered, but much of the work will begin with the most analog of materials: pencil and paper, scissors and tape.

Visual Thinking Jennifer Munson GRA-0124 4 SHU, Wednesday 2-6pm Introductory level This class is an introduction to the theories and practices of our contemporary visual world. We will look at a range of imagery from art history, graphic design traditions, and the world around us to expand observational and critical thinking skills. Foundational concepts of visual art theory 18

will consider a range of cultural perspectives through projects that rely on selected readings, looking at art, and engaging in open dialogue around the complexities of seeing. We will learn digital graphic techniques (Illustrator and Photoshop) to explore our sense of sight as an active process of interpreting visual information.

We will learn through looking closely and asking questions; what is happening in this image? Intuition and imagination will be integral to this searching process.

Environmental Graphic Design Jennifer Munson GRA-0125 4 SHU, Friday 11-1pm, 2-4pm Intermediate-Advanced level Environmental Graphic Design is a fundamental creative practice of placemaking. Often collaborative, this design field focuses on large-scale graphic programs that include murals on buildings, billboards in urban and rural settings, as well as exhibition environments that place art objects in context to construct immersive experiences in relation to the built environment. Students will enhance their technical skills using Illustrator and Photoshop to create scaled drawings and photomontages to apply bold graphic ideas and carefully considered content to connect with the particulars of place.

Design for Social Change 1 Carla Schwartz GRA-0126 4 SHU, Wednesday 10:30-1pm, 2-4:30pm Introductory level Explore design as a catalyst for social change.

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

Design for Social Change 2 Carla Schwartz GRA-0127 4 SHU, Friday 10:30-1pm, 2-4:30pm Intermediate level Design for Social Change 2 will introduce further methodologies for graphic activism, including demonstrations of projection mapping software and digital fabrication techniques.

Projects will focus on community engagement through collaborative campaigns and advanced individual projects.

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[En]Coded Type: Computational Craft, Digital Terrains + Motion Designed Space Triton Mobley GRA-0134 / DIG-0134 4 SHU, Monday 2-6pm Intermediate level [En]Coded Type: Computational Craft, Digital Terrains + Motion Designed Space: From the Dotonbori River to Time Square—the Bund to Piccadilly Circus—we will examine the productions of type[ography] + design and the near infinite abilities of the medium to render fluid motion through static production outputs.

As we creatively meander through the last century of type[opgraphic] history—over the course of the semester students will research, iterate, and craft a collection of type[ographic] designs—filtering influences of cinema, biomimicry, and architectural [a]symmetry through computational praxis. Intermediate level.

The Graphic Novel: History & Craft Rick Moody GRA-0135 / MDIA-0135 4 SHU, Tuesday 9-1pm Intermediate level This course will look at examples of the graphic novel in light of the cultural impact of the form--from seminal texts like Art Spiegelman’s ‘Maus’ through a range of mainstream and contemporary independent examples of graphic texts, including manga and

webcomics. We will be investigating graphic memoir forms, such as Alison Bechdel’s ‘Fun Home’, and journalistic examples, like Joe Sacco’s ‘Palestine.’ We will be looking at abstract comics, and, in the case of Ta-Nehisi Coates's ‘Black Panther,’ we will be looking at the influence of comics on cinematic culture.

Weekly assignments will be creative and aligned with the idea of a studio-based practice. Students comfortable with writing will be asked to develop language-based scripts. Artists can draw or use collage. Each student should attempt the other medium, too. Everyone will be expected to respond to weekly prompts, prepare for in-class critical discussions of the readings and to complete two multi-panel two comics, one in collaboration. Each student will also give a short presentation on a favorite comic not included in the syllabus.

History and Politics of Typography Chantal Zakari GRA-0179 4 SHU, Thursday 10:30-1pm, 2-4:30pm Introductory level Typography carries a Eurocentric history from Garamond to Helvetica. Starting with the calligraphic forms of the Romans, to Guttenberg’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. Studio work will be based on creating personal responses to short assignments and one

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longer project. Some experience in inDesign or Illustrator will help but is not necessary.

Artists’ Books Today Asuka Ohsawa GRA-0183 4 SHU, Thursday 10:30-1pm, 2-4:30pm Intermediate level What is an artist book? What are the purposes and motivations behind the artistic practice of making books in the 21st century? This mixed media studio class explores the handmade artist book in its many configurations: as visual poetry, as narrative, as document, as conceptual space, as memoir and as museum. Binding and image-making demonstrations, workshops and

assigned problems expand students’ awareness of the artist book as a contemporary vehicle for content and hands-on innovation. Inspired by examples from the history of the book (the ancient codex, medieval illuminated manuscripts, chap books, altered books) and drawing upon global traditions (Asian, Middle Eastern, Western), explore the history and culture of artist books.

Examine work of contemporary practitioners; see that the artist book offers a unique context for understanding and responding to the complex realities that surround and inform our daily experiences. Encourages and nurtures each student’s response as they develop their own perspective in the form of artist books. Hands-on technical instruction, complimented by presentations, visiting artists, readings and critiques. Open to all levels.

Media Arts Intro to Video Art Anne Harris MDIA-0001 4 SHU, Wednesday 9-1pm Introductory level 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.

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

Video Installation Georgie Friedman MDIA-0104 4 SHU, Tuesday 2-6pm Intermediate level Video is one of the most important communication tools of our time. In this studio and seminar course, students will learn a range of skills to produce video content based on their individual interests, concerns and passions.

From research- based projects, to activist works, to experiments in form, we will learn to design ways to display artworks in physical space and on-line that communicate your ideas and

aesthetics with power and strength. Students will be instructed in camera composition, and through this develop their own individual camera style and language. We will use mirrorless cameras and camera mounts, or students can choose to use their own cameras.

Tutorials will include video editing and compositing using Adobe Premiere and Adobe After Effects. Students will participate in lighting design workshops to learn both conventional and experimental lighting techniques. Students will learn to produce sound scores for their projects in workshops on sound recording, editing and mixing. Through engaging with space, architecture and landscape, we will design immersive video experiences using video mapping software. Students will learn to produce both single channel and multi-channel projects. Along with video, students are encouraged to incorporate diverse media in their installations such as painting, sculpture, found objects, texts, performance, digital technologies, the internet, music and sound. The seminar will trace an exciting array of international video artists from the emergence of the form in the 1960s, while concentrating on contemporary video installation. Visiting artists will present their projects and critique students’ work. During each week students will participate in three hours of synchronous and asynchronous learning including one hour of technical instruction through tutorials and/or workshops; one hour dedicated to the discussion of readings and screenings, and/or artists working in the field and/or artist talks; and one hour to present and dialogue about student’s individual artworks-in-progress. Open to all levels.

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Intro to Film & Video Luis Arnias MDIA-0106 4 SHU, Thursday 9-1pm Introductory level This beginner level studio class using both 16mm film stock and digital video will introduce students to the conceptual and practical aspects of the medium of moving image. We will explore the medium through screenings, readings, discussions, practice and critique of student’s works.

The course will cover basic production skills such as camera operation and composition, editing in Adobe Premiere Pro and special effects (green screen, compositing etc.) in Adobe After Effects.

Students will be assigned weekly projects in moving image and will have the opportunity to experiment and develop a body of work in this medium.

Visual Programming for Visual Thinkers Andrew Hlynsky MDIA-0109 4 SHU, Friday 2-6pm All levels

matrix math, lookup tables, and parametric design. Apply learned skills to a variety of disciplines including image making, installation, lighting, interactive video, graphic design, projection mapping, VJing, and data visualization. Some experience with Photoshop, Premier, After Effects or equivalent image manipulation software is expected. Open to all levels.

Mother Laurel Nakadate PHT-0107 / MDIA-0112 4 SHU, Thursday 9-1pm Introductory level Intermediate-level studio course investigating images of mothers and motherhood in modern and contemporary photography and video. Motherhood in today’s political climate, as it interacts with separation of families at the American border, political figures giving birth while serving in office, workplace discrimination, U.S. opposition to the breast-feeding resolution, and challenges to laws allowing women control over their bodies.

Work of artists exploring this topic from personal documents to political movements. Students produce videos and photographs examining the subject of mothers and participate in weekly critiques.

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,

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The Graphic Novel: History & Craft Rick Moody GRA-0135 / MDIA-0135 4 SHU, Tuesday 9-1Pm Intermediate level This course will look at examples of the graphic novel in light of the cultural impact of the form--from seminal texts like Art Spiegelman’s ‘Maus’ through a range of mainstream and contemporary independent examples of graphic texts, including manga and webcomics. We will be investigating graphic memoir forms, such as Alison Bechdel’s ‘Fun Home’, and journalistic examples, like Joe Sacco’s ‘Palestine.’ We will be looking at abstract comics, and, in the case of Ta-Nehisi Coates's ‘Black Panther,’ we will be looking at the influence of comics on cinematic culture.

Weekly assignments will be creative and aligned with the idea of a studio-based practice. Students comfortable with writing will be asked to develop language-based scripts. Artists can draw or use collage. Each student should attempt the other medium, too. Everyone will be expected to respond to weekly prompts, prepare for in-class critical discussions of the readings and to complete two multi-panel two comics, one in collaboration. Each student will also give a short presentation on a favorite comic not included in the syllabus.

Print to Animation Maya Erdelyi-Perez, Rhoda Rosenberg PRT-0140 / MDIA-0139 4 SHU, Friday, 9-1pm Open to all levels How can we re-imagine/re-contextualize printmaking as animation? This interdisciplinary course will explore various printmaking and experimental animation techniques, finding ways to hybridize and expand these processes. We will look at the connection of both media to time, sequence, repetition, experimentation, storytelling/narrative, abstraction, and registration to create moving images. In what ways, can we use the language of time-based media to create prints? In what ways, can we use mark-making, texture, and the visceral and analog qualities of printmaking to create animations? This experimental course will open-up and expand the rich dialogue between print and animation. Printmaking techniques will include: relief, collograph, etching, and digital approaches to inkjet printing, laser printing, and Riso. Animation techniques will include: stop-motion, collage/cut-paper, camera-less animation on 16mm film, paint-on-glass, drawn animation, GIFS, experiments with projection, and methods of exhibition/presentation. Through these various approaches we will investigate print’s ability to create motifs that can be repeated as both a static and moving images. We will discuss how these analog and digital processes can inform and expand both genres.

Course-time will be split between demonstrations, presentations, visiting artists, field trips, and open studio. Students will be able to create a final project of their own choosing using all or any of the print and animation techniques demonstrated. All final projects will be included a class exhibition and screening.

Open to all levels.

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

Animation 2 Maya Erdelyi-Perez MDIA-0142 4 SHU, Thursday 9-1pm Intermediate Animation 2 offers a more in-depth study into animation techniques, principles of animation, ways of generating ideas, and directing for animation. These skills are strengthened through in-class exercises, screenings, visiting artists, and discussions. In addition, each student will design, animate, and provide a soundtrack for their own independent project. Most of this work will be done outside of class, with a weekly one-on-one meeting with the instructor and teaching assistant.

Students in this class are also eligible to attend the Ottawa International Animation Festival in the Fall Semester, and a field trip to a local studio in the Spring Semester. Prerequisite: Animation 1 FLM 0036. Non-SMFA students and MAT Art Education students will receive a letter grade.

Character Animation Ng’endo Mukii MDIA-0145 4 SHU, Monday 2-6pm Introductory level 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, believeability, 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.

Develop unique software tools for creating real time interactive 3D scenes, generative 2D images, and audio reactive systems.

Recommendations: Some experience with Photoshop, Premier, After Effects or equivalent image manipulation software is expected. Open to all levels.

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The Naturalist Animator Joel Frenzer MDIA-0147 4 SHU, Tuesday 2-6pm Introductory level Document your “environment” through animation. Examine work of naturalists and artists throughout history; how close observation of the natural world motivated new discoveries and “ways of seeing.” Students 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. “Nature” can be broadly interpreted. Objects, people, behavioral patterns, relationships, emotions, etc., can be natural elements in each student’s specific environment.

Introductory class, open to all levels.

Trick Films & Special Effects Joel Frenzer MDIA-0148 4 SHU, Wednesday 2-6pm Intermediate level Optical Digital Effects, (a.k.a Special Effects) is the hybrid meeting of Live-Action and Animation to create unusual visuals effects.

From the simplest double exposures through digital compositing, this course covers a range of digital and traditional analog tools. In addition to technique and skill building, this course will help students' achieve individual goals as artists, by examining when and why visual effects are used and exploring the

relationship between visual effects and core concepts of a moving image work.

Topics include: lighting and shooting against a green screen, compositing footage in After Effects, manipulating footage frame-by-frame using the Optical Printer and Photoshop, in-camera effects and Projecting and Re-Recording Projections to create trick-film scenarios and environments. Hand-on weekly assignments will develop your technical skills, culminating in a final project of your choosing.

This class is ideal for those students who want to creatively integrate their Film, Digital and Animation work, advanced students who want to incorporate special effects into a current Film or Animation project, or any student curious to experiment with media in a new way.

Experimental 3D Animation Cristobal Cea MDIA-0151 / DIG-0151 4 SHU, Monday 2-6pm Introductory level This beginning course will address foundational elements of 3D animation and modeling using Blender. Through a series of exercises that introduce basic concepts in 3D animation, students will embrace new challenges within this ever-expanding field. Experimenting with classic concepts like rigging, texturing, and camera movement, while also dealing with new approaches that involve 3d scanning, simulations, motion capture, and hybrid methods in this developing area of digital animation.

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Media Culture Now Neda Moridpour MDIA-0182 / GRA-0103 4 SHU, Tuesday 9-1pm Introductory level An understanding of how mass media functions is necessary in order to enact meaningful social change. The media representation of a drowned Syrian boy and refugees; the Black Lives Matter activists; The US military recruiting from gaming industries for Iraq and Gulf Wars; The previous US presidential elections; reality TV, etc. These images shape both our public policy and private lives. Additionally, between TV, radio, newspapers, magazines, internet, mobile phones, billboards and LED displays, we see between 250 to 3000 ads per day. These are just a few stories that indicate how text has expanded from the merely literary to all forms of cultural production, and how mass media has come to be a powerful means of expressing culture, which ‘frames’ our everyday life. Through readings, presentations, group discussions and studio work we will look critically at the media culture. We will examine texts from Shanti Kumar, Erving Goffman, Jackson Katz, John Berger, Naomi Klein, Jean Kilbourne, Guy Debord, Adbusters, The Onion, fashion magazines, and activist art. These readings will create the structure for studio work as well as challenging commercial methods by producing work about our vernacular culture. This course is

designed as an introduction to digital art-making techniques and skills. Non-SMFA students and MAT Art Education students will receive a letter grade.

Ethics: Interview & Engagement Jane Gillooly, Neda Moridpour MDIA-0182 / GRA-0103 4 SHU, Thursday 2-6pm Intermediate level The interview, integral to non-fiction film/video making, can be seen as a cornerstone of social practice art. This course is designed to teach video/audio interviewing techniques with a focus on ethical concerns. The self-assessment necessary to listen effectively, informed consent, ethical image-making, public and private space, and cross-cultural sensitivity. Active listening while interviewing is a purposeful exchange, directed, evaluative and even therapeutic. The course addresses problematic interview and engagement situations, while developing interviewing skills through role-playing and practice. Exercises in image and audio recording, capturing content, and impactful editing will conclude in a final video or audio project. Intermediate level.

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Painting Intro to Painting Daphne Arthur, Laura Fischman PAI-0003 4 SHU Section 1: Wednesday 9-1pm (Laura Fischman) Section 2: Monday 9-1 pm (Daphne Arthur) Introductory level Introduces practical information about the fundamentals of painting: shape, tone, edge, composition, color, line, perspective, and substance. Develops ability to describe visual world in multiple modes; provides grounding necessary to take more advanced painting courses. Demonstrations of materials and techniques, slide presentations, discussions, assignments, work periods, group and individual critiques. Majority of time spent in a studio/work mode. Course grounded in representation; recommended previous life drawing class or its equivalent, or concurrent with Introduction to Oil Painting. Introductory course open to all levels.

Introduction to Water, Color & Paper Justin Life PAI-0010 4 SHU, Tuesday 2-6pm Introductory level Introductory painting class explores new and traditional approaches to image making, materials, and painting using watercolor, inks, and other water-based painting materials. Development of and focus on expressive and conceptual vision and intuitive working methods leading to independent work in a self-chosen direction. Examination of a

wide range of techniques, image development, color, and light. Work from observation, the imagination, and other sources. Slide lectures, suggested readings, critiques, and field trips to museums are a part of the class.

Introduction to Abstraction: Flatlands Eva Lundsager PAI-0019 2 SHU, Wednesday 11-1pm Introductory level Introductory studio course examines design principles as applied to abstract artworks. Weekly assignments address strategies for generating non-objective imagery using water-based media and collage, culminating in a body of work on paper or canvas. Projects emphasize brainstorming multiple answers to visual problems over selecting the first solution that comes to mind. Students learn to “speak graphically,” utilizing shape, line, color, arrangement, or scale, to inform their decisions as they move further into painting, printmaking, or drawing. Serves as an excellent entry point into considering meaning and form in contemporary abstraction. Focus on acquisition of basic 2D skills (color, line, shape, tone, etc.) as a basis for making/designing images across multiple media. Techniques and principles are applicable to advanced drawing, printmaking, and collage strategies. Media used includes charcoal, diverse collage material, pigment, and acrylic paint. While the principles introduced carry into multiple media, most examined examples are abstract – in the broadest sense of the word, including Western and Non-Western paintings, textiles, ceramics, drawings, etc. Serves as an excellent entry point

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into considering meaning and form in contemporary abstraction. Introductory course open to all levels.

Beginning Painting Angelina Gualdoni PAI-0021 2 SHU, Thursday 9-11am Medford Introductory level Develop core skills in direct observational painting. Lectures include introduction to relevant art historical and contemporary dialogue.

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

Intermediate Projects John Ros PAI-0050 2 SHU, Friday 9-11am Intermediate Moving from beginning courses (where work is made in response to assignments) to developing a body of work with personal vision and expression is an important step in developing as a student and artist. This one-period course prepares students to move into the intermediate and advanced levels of instruction where personal commitment, vision, and curiosity are

driving the work. Slide lectures, readings, discussions, group and individual critiques help students identify subjects they care passionately about and want to explore through paint and related media. Class time is divided between these activities with emphasis on developing a strong working community through critique.

Students should be prepared to spend a good deal of time working individually outside of class. Though this course is offered in the Painting Area, it is open to students wishing to work in other media as well.

Intermediate Studio Seminar Eva Lundsager PAI-0075 4 SHU, Monday 9-1pm Intermediate This class is a bridge between project-based basic courses and the independent work of Senior Thesis. Helps students develop a strong and committed studio-based practice where they experience the challenges and rewards of sustaining a body of work from inception to exhibition. Each student will be provided with studio space to support their developing practice, and it is essential that applicants are self-motivated and willing to spend substantial time working out of class each week. Applicants to this course must be in their second or third year and enrolled at least half-time studio at SMFA throughout both Fall and Spring semesters. Prerequisites include: at least one introductory and one intermediate level course, or demonstrated equivalent through portfolio and statement. Faculty permission required.

Intermediate Course.

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Material Meaning Mara Metcalf PAI-0099 4 SHU, Wednesday 9-1pm Intermediate-Advanced level 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.

help to support student’s projects. Designed for Intermediate level students. One previous introductory painting or drawing course recommended.

Intermediate Portrait Painting Ria Brodell PAI-0172 4 SHU, Tuesday 9-1pm Intermediate level 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.

Flora and Fauna Ria Brodell PAI-0110 / GRA-0121 4 SHU, Wednesday 2-6pm Intermediate An exploration of flora and fauna as broad themes in contemporary and historical art.

Potential cross over into other subjects such as climate change, biology, gender, environmental conservation etc. Topics such as naturalist field notes will include the history and context of different taxonomies resulting in opportunities for individual research and pursuits. A broad range of media and methods will be discussed and used. Regular critiques and discussions will

Special Topics: Women & Abstraction Karmimadeebora McMillan PAI-0191 *Grad Seminar* 4 SHU, Thursday 10-2pm Advanced level Investigate processes and subjectivities in relationship to abstraction and gender in contemporary painting and sculpture. Weekly readings, class discussions, research, one on ones, group critique, writing presentations, museum, and gallery visits. Women discussed include Torkwase

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Dyson, Brenda Goodman, Michelle Wallace, Christina Sharpe, The Ninth Street Women, Howardena Pindell, Carrie Moyer, Sarah Sze, Cecily Brown, Mika Rottenberg and others.

Thinking on themes of absence, the void, blackness, power, violence, love, and light.

Advanced level, restricted to 3rd year students and above, or permission by instructor required.

Graduate Painting Studio Daphne Arthur PAI-0210 4 SHU, Monday 2-6pm Advanced For Graduate students focusing on painting practice or related disciplines, this course links individual student practice to strategies of negotiating the art world after art school. Focus will be on the development of college-level teaching skills and preparing for professional opportunities. We will also focus on linking studio practice to theory and teaching, the pros and cons of the professionalization of art, residencies, grants, and different categories of exhibitions, and finally, the importance of ethics and arts activism and what activism can add to your life as an artist.

Landscape Painting Michael F. MacMahon PAIM-0001 2 SHU, Thursday 12-3pm Medford Open to all levels The landscape explored as a means of expressing our contemporary world via realism, metaphor and abstraction. Landscape painting is an innately

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

Intro to Painting Continued Michael F. MacMahon PAIM-0053 2 SHU, Friday 1:30-4:30pm Medford Open to all levels Continuation of Introduction to Painting (FAM 0052). Students work more independently and explore advanced painting techniques and issues.

Investigate work by contemporary artists and explore what it means to be a painter in the 21st century, influenced by global art history.

Investigate and mine approaches to painting through the history of the medium to create work that allows you to use vocabulary of the history of painting. Personal commitment, vision, and curiosity are the driving forces behind the work produced. Emphasis on developing one’s own tastes and sensibilities as an artist. Individual and group critiques conducted throughout the semester.

Students challenged to attain a higher degree of proficiency and moving closer to artistic goals.

Create a cohesive body of work that can be curated

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in a contemporary art setting. Open to all levels.

Excludes BFA, MFA, and SMFA Post Bac students.

Painting Foundation Lizi Brown, Laura Fischman PAIM-0054 Medford Section 1: Monday and Wednesday 6-9pm Section 2: Tuesday and Thursday, 9-1:30pm 4 SHU Open to all levels

political, or all of the above. Work on boosting your technical skills. Benefit from each other’s curiosity and experiments. Improve through group discussion/collaboration and evaluation of work.

Deepen your visual literacy and develop conceptually and technically. Excludes BFA, MFA, and SMFA Post Bac students.

Painting From Photographs Michael MacMahon PAIM-0056 4 SHU, Thursday 4-8pm Medford Introductory level

Introduction to materials and methods of painting.

Learn basic properties of paint; obtain broad understanding of color, shape, structure and space.

Examine the world around you; capture and respond to it in paint. Subject matter includes objects, landscapes, people and places; exploring students’ own ideas and reacting to the current moment. Classes consist of demonstrations, discussion, painting exercises that build upon one another over the semester. Students gain comfort and familiarity with the language of painting by reading about and responding to contemporary painting/painters, and critiquing/discussing each other’s work. Open to all levels. Excludes BFA, MFA, and SMFA Post Bac students.

Learn how to work from, alter, and abstract photographs to inspire paintings. Gain insight into the myriad possibilities that photography offers painters to develop source material and imagery.

Taking inspiration from photographs is not new to painting: read about, watch films and discuss this historical relationship. Consider what it means to use digital tools and paint in an image-driven, digital age. Complete this studio course with improved painting skills and the foundation of a practice to be able to maintain outside of the classroom. Some prior painting experience is suggested, but all levels are welcome. Excludes BFA, MFA, and SMFA Post Bac students.

Painting: Intermediate to Advanced

Contemporary Portrait Painting

Lizi Brown PAIM-0055 Medford 4 SHU, Monday and Wednesday 1:30-4:30pm Intermediate to Advanced level

Michael MacMahon PAIM-0070 2 SHU, Friday 10-1pm Medford All levels

Intermediate/advanced painting course emphasizes personal vision. Make paintings reflecting your ideas and observations. Your path is determined by the interests you bring to the group; personal,

Designed to help students understand and express the complex landscape of the human head. Look at a variety of contemporary portrait artists; explore many solutions to how to paint people. Students

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will learn to identify, mix, and apply color using both observational and emotional skin tones.

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

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

include watercolor techniques, light, figure-ground relationships, and color. Excludes BFA, MFA, and SMFA Post Bac students.

Watercolor: Fundamentals + Beyond Katharine Finnegan PAIM-0094 Medford 4 SHU, Tuesday and Thursday 6:30-9:30pm Open to all levels Exploration of the basic techniques and characteristics of the watercolor medium.

Development of understanding of the medium in technical, expressive, and historical terms through warm-ups and fundamental exercises. After completing these exercises, students work with the teacher to develop their own themes and subject matter. Discussion of great watercolor painters and viewing of contemporary watercolors. Previous drawing and/or painting experience in any media required. Course may be repeated. Excludes BFA, MFA, and SMFA Post Bac students.

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Performance Special Topics: Visiting Artists in Performance Danielle Abrams PER-0191-01 *Grad Seminar* 4 SHU, Tuesday 11-1pm, 2-4pm All levels Four Performance Artists will visit this course throughout the semester. Each artist will comprehensively interact with students in their development of performative projects. The Visiting Artists work with a range of performance techniques and methodologies that include ritual, endurance, intermedia approaches, object-based work, sound, experimental theater, site-responsiveness, spoken word, and public intervention. Visiting Artists will give guest performances and/or lectures, facilitate performance workshops, provide critiques of student work, and share lunch with the class.

Students will develop independent performance works throughout the semester as guided by the instructor. Graduate students will supplement their performance practices by researching the historical and contemporary contexts of the Visiting artists.

Graduate students will be expected to cultivate leadership and community-building skills by introducing the Visiting Artists at public events, and co-Curating the class’ final exhibition of work.

Open to all levels of experience.

Multiples, Rituals, Actions Vin Caponigro PRT-0137 / PER-0191-02 4 SHU, Monday and Wednesday 6-9pm All levels This course will explore the use of multiples as performance, props, and printed ephemera through projects involving screen printing, relief printing, Riso printing, and photocopying.

Examining interdisciplinary approaches to the multiple, this course emphasizes skill-building, experimentation, and individual voice through hands-on technical instruction, presentations, discussions, readings, group critiques, and individual meetings. Together, we will look at historical and contemporary examples of printed matter, distributed manifestos, pamphlets, zines, and flyers, as well as how multiples enter into and interact with the digital realm. Assignments will be designed to build an understanding of print processes and their intersection into ritual and performance, while focusing on hybrid, collaborative, and participatory practices. With guidance, students will conceive of projects that reflect their individual interests. Open to all levels.

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Photography The Photographic Book Bill Burke PHT-0102 4 SHU, Tuesday 2-6pm Intermediate level

Intro to Digital Photography

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.

Mother Laurel Nakadate PHT-0107 / MDIA-0112 4 SHU, Thursday 9-1pm Introductory level

subject of mothers and participate in weekly critiques.

*Grad Seminar*

Intermediate-level studio course investigating images of mothers and motherhood in modern and contemporary photography and video. Motherhood in today’s political climate, as it interacts with separation of families at the American border, political figures giving birth while serving in office, workplace discrimination, U.S. opposition to the breast-feeding resolution, and challenges to laws allowing women control over their bodies.

Work of artists exploring this topic from personal documents to political movements. Students produce videos and photographs examining the

Anthony Hamboussi, Laura Beth Reese PHT-0111 4 SHU Section 1: Friday 9-1pm (Laura Beth Reese) Section 2: Thursday 9-1pm (Anthony Hamboussi) Section 3: Wednesday 2-6pm (Anthony Hamboussi) Introductory level Introduces technique and theory of digital image making. Introduces students to digital cameras and flatbed scanners for image capture, computer programs such as Lightroom and Photoshop for image flow and processing, and archival digital printers for print output. Assignments, lectures, readings and demonstrations create a forum to discuss picture making, and its role in personal and cultural terms, in an age where the photograph has become ubiquitous. Engagement with histories of art and photography provides a platform to consider how photographs are produced, circulated, duplicated and situated in social, political, cultural and economic contexts of the moment. How do we produce unique images, influenced by our own investigations within todays context? Level: Beginning level. Non-SMFA students and MAT Art Education students will receive a letter grade.

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Black, White & Gray: Intro to Analog Photo Bill Burke PHT-0113 4 SHU, Friday 2-6pm Introductory level Introduction to the fundamental skills necessary for operating manually-controlled 35mm cameras, precision film exposure and development, and principles of making prints in the darkroom.

Demonstration, instruction, regular critiques and lectures. Discussion of various approaches to picture making and the relationship of photography to other graphic media, through slide lectures, critiques, and field trips to photography exhibitions or collections. Discussion of the virtues and drawbacks of other film formats. Principles presented in class may be applied to other lens-based technologies, such as digital photography, video, and moving film.

Requirements: Students must provide their own film and photo paper and must shoot a minimum of one roll of film each week. Students should have their own manually-controllable SLR camera (not a point-and-shoot). A limited number of cameras are available for students who do not own one.

solutions, from observational photography to computer-generated works. Addresses the opportunity of a moment that may be pivotal and could upend the longstanding societal scourges in play. Students expected to put additional hours every week into assignments and reading.

Introductory photography course or its equivalent recommended.

Advanced Photography Projects Bonnie Donohue PHT-0121 4 SHU, Thursday 2-6pm Advanced Advanced Photography Projects will provide time and space for weekly group critique and 1:1 meetings to support the development of, and provide critical feedback for, projects in photography and video. This course is open to graduate students and upper-level undergraduates who have already taken Intermediate Photography.

Psychoanalysis Deep Dive Intermediate Photo Laurel Nakadate PHT-0118 4 SHU, Wednesday 9-1pm Intermediate level Topic-based lectures and photography assignments. Course divided into lecture, critique, discussion of readings, technical instruction.

Engage with the challenges in the present space and time. Covers a range of photographic

Rachelle Mozman Solano PHT-0148 *Grad Seminar* 4 SHU, Monday 2-6pm Intermediate-Advanced level An advanced exploration of image, narrative and psychoanalysis. Deepen work connecting our unconscious to our personal symbolism in our art.

We reflect on the unconscious as housing memories, as well as explore theories around the development of the self, dream analysis, and attachment and relational theory. Through

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reflection, readings, film viewings, exercises and a midterm project that inform the culminating final project, we probe into the structure of our personal narrative, and the relationship between these narratives and the images we create.

Portraiture & the Self Rachelle Mozman Solano PHT-0150 4 SHU, Tuesday 9-1pm Intermediate level 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.

Advanced Lighting Vincent Martin PHT-0199 2 SHU, Monday 10-1pm Medford Advanced level This one period course is for students interested in refining their lighting skills in partnership with conceptualizing their ideas. We will refine exposure in relation to multiple flash situations, use the ring light and Pro-Foto kits and use a variety of our continuous light sources. Refining one’s ideas in relation to lighting will be discussed in weekly critiques and demonstrations. There will be a professional photographer visit and demos on the Capture One Pro System. There will be weekly analysis

of internet photographs in order to understand the lighting sources used in their creation.

Students should bring a portfolio of their photographs to the first class.

Photo 1: Film and Darkroom Mike Mandel, Vincent Martin PHTM-0063 Medford Section 1: Monday, 1-5pm (Mike Mandel) Section 2:Tuesday, 4-8pm (Vincent Martin) 4 SHU Open to all levels This course provides a fundamental knowledge and experience with the black & white photographic process. The emphasis is to enable the student to think visually and begin to develop a personal way of seeing with the camera. The course is focused on the tradition of photography, making pictures with a 35mm camera, film development and the craft of making prints in the darkroom. Focus: There will be weekly demonstrations and assignments to teach students the necessary techniques to produce quality negatives and prints. Students will be challenged in various assignments to learn to see photographically. Group discussion is an important part of the learning process and all student work will be discussed during group critiques in class. The instructor will provide a historical and critical context for photography, presenting examples of artists’ work as well as scholarly readings. Toward the end of the semester students will be expected to make one long term project which will be presented in class on the final day. The Tufts darkroom has a limited number of 35mm cameras to loan out for the semester, but some students will need to have their own 35mm camera. All students will purchase film and photographic printing paper, but the school will provide chemicals and

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darkroom facilities. Approximate cost of supplies will be $200. 3-6 hours per week outside of class time is often necessary to complete work and students are encouraged to spend as much time as they need in the darkroom during open lab hours.

Photography and Computer Tom MacIntyre PHTM-0065 Medford Section 1: Thursday, 4-8pm Section 2: Wednesday, 3-7pm 4 SHU

Open to all levels This course is an introduction to the techniques of electronic imaging as they relate to the practice of photography. Students will learn the basics of digitizing, image editing, and manipulation with Adobe Photoshop. In addition to regular assignments and critiques, there will be frequent class discussions of critical and historical issues raised by the introduction of the computer into the practice of photography. Some familiarity with computers is desirable, but not absolutely necessary. Please see departmental website for specific details.

Print & Paper Hand Papermaking Milcah Bassel PRT-0102 4 SHU, Tuesday 9-1pm, 2-4pm Open to all levels This course will highlight our relationship to the materials that carry our ideas, while introducing a range of approaches to hand papermaking.

Together, we will focus on methods of transforming cellulose fiber into 2D, 3D, and multi-media projects, exploring conceptual frameworks through rigorous involvement with material processes. This course will offer historical, traditional, and scientific context for hand papermaking, as we highlight the innovative

ways contemporary artists have pushed the use of pulp, paper, and adjacent materials. Students will be encouraged to actively research fibers, and to forage and recycle materials. Ideas pertaining to the sourcing of these materials, and our responsibility towards them, will be explored through readings, podcasts, videos, discussions, and assigned projects. Weekly presentations and readings will explore papermaking as a cross-disciplinary approach to thinking about social practice, environmental studies, in addition to design and engineering. Technical demonstrations throughout the semester will provide students with the skills to create and work with paper as a material, leading to independence in the studio, and the ability to work on individual projects. Open to all levels.

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Digital Print Michael Smoot PRT-0107 4 SHU, Friday 2-6pm Open to all levels This course will explore an expanded view of print as it applies to the use of various digital technologies. Beginning with an overview of traditional mediums and techniques, we will look at the utilization and adoption of a variety of digital processes for the production of print media.

This will include a range of photomechanical techniques and rapid prototyping technologies (CNC routing, 3D printing, and laser cutting). In addition, we will explore more readily accessible technologies, such as, laser and inkjet printers, vinyl cutters, and mobile technologies with their accompanying applications. Students will be challenged to stretch their definition of print media and develop a series of projects incorporating the technologies, process, and techniques of their choosing/invention. Demonstrations, presentations, and readings will be an inherent part of the course.

Together, we will learn how to use Adobe Creative Cloud applications such as Photoshop, Illustrator, and InDesign to manipulate, design, and adjust imagery for print. Open to all levels.

Exploring Paper Milcah Bassel PRT-0109 / SCP-0150 4 SHU, Thursday 11-1pm, 2-4pm Open to all levels The course will present a broad range of conceptual and technical approaches to thinking about paper as a malleable and interdisciplinary material. Together, we will explore how paper is in

dialogue with print, sculpture, architecture, design, and manufacturing. We will examine paper as a technology— a carrier of information, and a performative substrate. Through technical demos and exercises, students will develop a “paper as material” vocabulary, utilizing a range of commercially available papers, traditional handmade papers, and discarded and recyclable fibers. With our hands and bodies, we will explore characteristics and expressions particular and unique to paper, addressing scale, space, and performance. Through presentations and readings, this course will offer historical and cultural insights into the development and use of paper, while highlighting the work of contemporary artists and experimental practices involving paper as a material. Hands-on projects, discussion, writing, and critique will be an important part of the course, allowing us to develop and share ideas.

Open to all levels.

Games and Strategies Kate Conlon PRT-0112 4 SHU, Tuesday 11-1pm, 2-4pm Open to all levels “Any concept or quality can be a rule, an invariable. Rules oppose and derail subjectivity.

They loosen the imprinted circuits of the individual.” - Oyvind Fahlstrom In this course, students explore the use of game structures as strategies for artistic production.

Weekly readings and lectures introduce the history of game-play in modern and contemporary art as well as studio methodologies based on chance, improvisation, simulation, and play. Collaborative exercises at the start of the semester create the foundation for self-directed projects in which students set their own parameters and consider the expanded studio as a field of play. Production of artist multiples in the form of toys, kits, board

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games, and booklets is supported by demonstrations of DIY printing, casting, and construction methods. Class time is divided between demonstrations, reading discussions, visiting artist lectures, individual meetings, and critique. Open to all levels.

Replicas and Reproductions Kate Conlon PRT-0113 4 SHU, Monday 9-1pm 2-4pm Open to all levels This course offers an in-depth investigation into concepts of replicas and reproductions. Together, we will question what can be considered an “original” by making objects and prints that exist as “multiples” in space-time. We will explore different methods of technological production to imitate, reproduce, and challenge what can be considered an authentic object, impression, or experience. We will seek to create “likenesses” that can become a starting point for discussion and critique and explore how sameness can be a means to distinguish difference. For centuries, ideas of mimesis, aura, and originality have been central to artistic discourse. As emergent technologies such as digital fabrication, augmented reality, and Deepfakes facilitate increasingly high-fidelity replication, it has become necessary to consider these ideas in the navigation of everyday life and to contemplate how our impressions are mediated by the use of technology. Throughout the semester, we will look at visual, digital, and audio examples of ‘the copy’ as replicas, counterfeits, knockoffs and bootlegs. We will consider reproduction as a studio methodology by studying artists who employ strategies of impersonation, parody, homage, and reconstruction. Studio assignments will allow for the use of a variety of digital and analog reproduction techniques including 2D and 3D scanning and printing, laser cutting, casting, and basic printmaking techniques. Weekly demos,

lectures, and exercises in the first half of the semester will support the development of a self-directed final studio project. Open to all levels.

Big Print Peter Scott PRT-0115 4 SHU, Thursday 9-1pm, 2-4pm Intermediate level Ambitious print projects need not depend on industrial caliber equipment. They do, however, demand commitment, persistence, and attention to the correspondence between scale and image.

Working in a large format can call into question the usual conventions of a print as a reproduced picture. Big prints have their own particular demands in terms of production, aesthetics, image scale, use of materials, and technical assistance.

The goals of this intensive course are to produce large-format prints in a collaborative group setting.

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

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Publishing Now Be Oakley PRT-0120 *Grad Seminar* 4 SHU, Monday, 11-1pm, 2-4pm Intermediate-Advanced level (Cross-listed with WGSS-0185-10) Publishing Now with GenderFail will survey contemporary publishing from the perspective of an artist and publisher active in the print community. The course will consider the multiple uses of “printed matter” as a fine arts practice through the lens of queer, trans, feminist, Black and indigenous practices. Through presentations, readings, discussions and visiting artists, students will be introduced to three major themes identified in contemporary publishing, including: publishing as curatorial space— the history of projects and collectives that have redefined the function of libraries, bookstores, and reading rooms as ideological expression; publishing as practice— how contemporary artists use publishing as an artistic medium and tool within their practice; and emerging canons— the small self-publishing scene: fueled by ambition, care, and community support. We will learn about publishing networks, and how publishing as a practice can evolve through taking part in exhibitions and events, such as: gallery shows, art fairs, and public talks. We will learn practical approaches to creating and maintaining a professional practice as an artist, as well as, how to collaborate and work with others on projects through the sharing and negotiation of material. Weekly meetings will include presentations of artists working with print media; visiting artists and publishers; group discussion of readings; and demonstrations of self-publishing techniques and processes. Together, we will publish an investigative print project. Students will work individually, and in small groups on collective projects, and will be expected to do weekly readings and independent research.

Recommended for 2nd year students and above.

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

Ephemeral Archive Be Oakley PRT-0121 4 SHU, Tuesday 5-9pm Advanced level Ephemeral Archive will explore the archive as an artistic process and tool for reconsidering how we develop and engage with print media as part of a multi-disciplinary practice. What does it mean to create an archive? How can an archive become a depository of ideas involving actions, events, and expressions? Together, we will engage conceptual approaches to thinking about the archive as a time-based approach to copying, documenting, printing, and collecting. Students will be encouraged to employ writing, print, photo, design, type, and research methods to create a fantastical and/or historical archive of their own choosing— relating specific topics, case studies, daily meditations, activities and subjects to broader themes. This could include working with source material such as: found photographs, public records, personal/business correspondence, newspaper clippings, text messages, sketches, audio visual recordings, and consumer bills and receipts. Through readings and presentations, we will discuss how archives can be resources for historical and personal investigations, and how the re-presentation of materials within certain settings can determine context. We will learn about how archives are accessed and utilized by professionals in the fields of law, library science, and sociology, in addition to art and activism. Weekly readings in art history/theory, trans and queer feminist theory, legal studies, and community/labor organizing will help support class projects and discussion.

Individual project interests will become the basis of collaborative and multi-media projects throughout the semester—with the goal of creating an ongoing archive, that can be used as an

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invaluable resource for students as they continue to develop their artistic practice, research, and future studies. Students working in all media are encouraged to take the course. This course is best suited for graduate and 3rd, 4th and 5th year undergraduate students who have cultivated a broad creative practice.

Multiples, Rituals, Actions Vin Caponigro PRT-0137 4 SHU, Monday and Wednesday 6-9pm All levels This course will explore the use of multiples as performance, props, and printed ephemera through projects involving screen printing, relief printing, Riso printing, and photocopying.

Examining interdisciplinary approaches to the multiple, this course emphasizes skill-building, experimentation, and individual voice through hands-on technical instruction, presentations, discussions, readings, group critiques, and individual meetings. Together, we will look at historical and contemporary examples of printed matter, distributed manifestos, pamphlets, zines, and flyers, as well as how multiples enter into and interact with the digital realm. Assignments will be designed to build an understanding of print processes and their intersection into ritual and performance, while focusing on hybrid, collaborative, and participatory practices. With guidance, students will conceive of projects that reflect their individual interests. Open to all levels.

Screenprinting A-Z Jennifer Schmidt PRT-0138 4 SHU, Wednesday 9-1pm, 2-4pm All levels Learn a wide range of screenprinting approaches using hand-drawn, photographic, and digital stencil techniques. Emphasis on the use of the computer as a means to filter and manipulate images in order to create color separations for screenprinting. Through the discussion of the history of print media, production and popular culture, conceptual exploration of a variety of approaches and formats for translating our ideas through screenprinting while thinking about the role of "multiples". Experimentation and an interdisciplinary approach to artmaking are encouraged. Level: Open to all levels, no experience necessary.

Progressive Proof: Color Carolyn Muskat PRT-0139 4 SHU, Tuesday and Thursday 6-9pm All levels Printmaking allows for an experimental and progressive approach to working with color.

Through the use of color mixing, layering, and registration, we will learn how to vary hue and transparency to create serial images developed through step and repeat print processes while printing. Color can be descriptive, emotional and graphic—signifying a range of interpretations and meanings. Together, we will explore how printmaking can be a way to technically and visually create progressive and variable “proofs” / test prints, and how color can be printed in different ways to direct and draw attention to a particular aspect of an image or idea. Students will

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be encouraged to work across print media using processes of their choosing after learning several printmaking processes, such as: lithograph, relief, and collograph. Demonstrations and presentations will be an important part of the course. Open to all levels.

Print to Animation Maya Erdelyi-Perez, Rhoda Rosenberg PRT-0140 / MDIA-0139 4 SHU, Friday, 9-1pm Open to all levels How can we re-imagine/re-contextualize printmaking as animation? This interdisciplinary course will explore various printmaking and experimental animation techniques, finding ways to hybridize and expand these processes. We will look at the connection of both media to time, sequence, repetition, experimentation, storytelling/narrative, abstraction, and registration to create moving images. In what ways, can we use the language of time-based media to create prints? In what ways, can we use mark-making, texture, and the visceral and analog qualities of printmaking to create animations? This experimental course will open-up and expand the rich dialogue between print and animation. Printmaking techniques will include: relief, collograph, etching, and digital approaches to inkjet printing, laser printing, and Riso. Animation techniques will include: stop-motion, collage/cut-paper, camera-less animation on 16mm film, paint-on-glass, drawn animation, GIFS, experiments with projection, and methods of exhibition/presentation. Through these various approaches we will investigate print’s ability to create motifs that can be repeated as both a static and moving images. We will discuss how these analog and digital processes can inform and expand both genres.

Course-time will be split between

demonstrations, presentations, visiting artists, field trips, and open studio. Students will be able to create a final project of their own choosing using all or any of the print and animation techniques demonstrated. All final projects will be included a class exhibition and screening.

Open to all levels.

Riso Studio Asuka Ohsawa PRT-0144 4 SHU, Wednesday 9-1pm, 2-4pm Open to all levels Risograph is a stencil duplicator that combines the aesthetic and process of screenprinting with the ease and convenience of a high-speed digital copier. Originally developed as an “ideal” printing machine for office use (“riso” means “ideal” in Japanese), Risograph has become one of the most popular reprographic tools among independent publishers and artists in recent decades. In this class, students will learn the basics of Risograph, including the manipulation of drawing, painting, and photographic images using Adobe Photoshop and/or Illustrator, color separation, and layering.

Through collaborative and independent projects, each student will produce a portfolio of Risograph prints in the form of edition prints, books, zines, comics, flyers, posters, postcards, or other printed ephemera. Through visiting artists’ lectures and presentations, the class will also take a close look at the global culture of Risograph printing and examine a wide range of publishing practices that utilize the medium as a means of facilitating unique artistic expressions, celebrating the diversity of voices, and building and sharing communal knowledge and experiences. Open to all levels.

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Series and Sets

Etching/Intaglio

Rhoda Rosenberg PRT-0167 4 SHU, Monday 9-1pm, 2-4pm Open to all levels

Peter Scott PRT-0170 4 SHU, Wednesday 9-1pm, 2-4pm Open to all levels

We will explore a range of experimental methods and approaches to creating prints that can be editioned as a similar image, then varied, to become a series of images that are similar but different, and relate to each other visually. We will adjust, alter, and adapt the printed image by turning, flipping, cutting, moving, and adding/subtracting elements—playing with the possibilities of graphic marks, and symmetry/asymmetry involving composition and sequencing. This could include visually developing a series of prints involving narrative, rules, and acts of decision making. A “series” of prints can become several “sets” of prints as choices are made involving how imagery is printed—leading to “sets” of prints that exist in relation to each other as part of a larger group. To create prints as “series and sets” implies time, contemplation, and the ability to recognize a visual and conceptual relationship between each impression. We will use monotype, relief, collagraph and digital processes to create prints on different types of materials, including: paper, fabric, wood and plexi. We will consider a variety of presentation formats, including: installation, books, scrolls, stacks, and sheets that can be positioned in relation to each other as a finished work. Demonstrations, presentations, and critique will be an integral part of the class.

Intaglio printing means printing ink from the incised marks in a plate or matrix. Etching means that acid is used to corrode these marks into the plate. Exposure to intaglio printmaking, both etched and not, along with opportunities to explore the medium in greater depth. In addition to etching basics (hard ground, soft ground, and aquatint), special attention will be paid to a broad array of intaglio applications: found objects, collagraph approaches, alternative plates (non-etched), collage, and monoprint techniques. Level: Open to all levels, no previous experience in print required.

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

Relief Printmaking Kate Conlon PRT-0174 4 SHU, Tuesday 9-1pm, 2-4pm Open to all levels This course offers a comprehensive introduction to relief printmaking processes. Traditional woodcut methods such as single-color, reductive, and multi-block printing will provide a foundation for more experimental approaches. Demonstrations of laser-engraved matrices, pressure monotype, chine collé, blind embossing, and the modular matrix will offer tools for creating editioned prints as well as variable series and unique works. Students will be encouraged to work at a large scale and to explore both traditional and non-traditional substrates. Class time will be divided between lectures, technical demonstrations, individual meetings, and studio work time. Open to all levels.

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Lithography Carolyn Muskat PRT-0183 4 SHU, Wednesday 9-1pm, 2-4pm Open to all levels This course is designed to allow an in depth study of the varied methods and techniques of fine-art lithography. This course covers fundamental concepts and techniques of black and white lithography from stone and aluminum plates.

While the demonstrations focus on traditional techniques, color printing, photo manipulation, and transfer methods will be discussed. Each class includes demonstrations, hands-on instruction, and lectures on historical and contemporary artists using lithography. Students are encouraged to experiment and incorporate other mediums as they create and develop their work. Advanced as well as beginning students are welcome.

Photo Litho: Proofing to Production Michael Smoot PRT-0193 4 SHU, Wednesday 5-9pm Open to all levels This course offers a comprehensive introduction to photo lithography and its various print media applications. Digital and hands-on experience designing film positives, exposing and developing plates, and printing on direct presses will prepare students to collaborate with commercial offset printers to produce a newspaper or magazine.

Students will learn prepress strategies such as registration, color separations, spot color, and halftone to produce traditional editioned prints on press as well as large print-runs in the form of posters, mailers, newspapers, and magazines.

Students will be encouraged to work on individual projects involving concepts/themes of their own choosing as well as collaborate on a class project to produce an offset-printed newspaper or magazine. Class time will be divided between presentations, technical demonstrations, individual meetings, and studio work time. Open to all levels.

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Sculpture Introduction to Metals

Introduction to Ceramics

Hannah Oatman SCP-0013 4 SHU, Thursday 2-6pm Introductory level

Michael Barsanti SCP-0102 4 SHU, Thursday 9-12pm, 2-5pm Introductory level

Learn the basic vocabulary of wearable art and sculptural expression in non-ferrous metals in this beginning metalworking class. Explores hand tools, silver-soldering, cold-joining techniques, textures, forging, and finishing. Through lectures, studio work, critique and collaboration, discuss contemporary and historical significance of metal, jewelry and sculpture.

An introduction to sculptural, painterly, and functional approaches to ceramics. Explores techniques in wheel-throwing and construction for hand-building and examines the basic use of fire, glazes at low and high temperatures, and raku. No prerequisites. Non-SMFA students and MAT Art Education students will receive a letter grade.

3D Foundations

Open Studio

Justin Guertin, N. Sean Glover, Annie Meyer SCP-0031 4 SHU, Monday 2-6pm Introductory level

Anthony Romero, Boyang Hou SCP-0108 4 SHU Section 1: Thursday 2-6pm (Anthony Romero) Section 2: Tuesday 2-6pm (Boyang Hou) Advanced

Orientation to the shops, studios, tools, and materials necessary for designing, modeling, and fabricating a full range of structures and objects.

Introduction to a range of important technical processes located in the various shops and sculpture facilities and to a variety of basic construction techniques including welding, woodworking, plaster mold-making, casting, and digital fabrication. Non-SMFA students will receive a letter grade.

Advanced-level studio course that develops and expands students’ fabrication skills based on the needs of self-directed projects. Involves work in the various shops and studios, assisting peers on projects, participating in group critiques, and receiving individual feedback sessions with faculty. Faculty work with students as needed on techniques and processes relevant to the ongoing development of their work. Non-SMFA students and MAT Art Education students will receive a letter grade.

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Introduction to Ceramics: Wheel Throwing Eileen de Rosas SCP-0120 2 SHU, Tuesday 9-1pm Introductory level This course is designed to introduce students to the fundamentals of ceramics process through the potter’s wheel. Students will learn the fundamentals of throwing all basic pottery forms, cylinders, bowls, plates and enclosed forms. In addition to forming, we will use various firing and glazing methods that include low-fire, pit-fire, raku and firing for function and durability.

Kinetic Sculpture N. Sean Glover SCP-0121 4 SHU, Monday, 9-1pm Introductory level This course offers students an opportunity to explore the delights and complexities of movement as an added dimension in their art.

Working individually and as teams, students will be expected to analyze, design, build and control a variety of working devices to integrate kinetics into their sculpture. This is a studio/seminar course which will include slide lectures, films, field trips, weekly readings, both class and individual critiques and guest artists.

Individual Ceramics Studio Projects Erin Genia SCP-0123 4 SHU, Tuesday 2-6pm Intermediate-Advanced This is an individualized project-based course.

Students will design their own projects, create proposals, assemble research and present them for discussion with the class. Depending on the scope of an idea, there should be at least 4 proposed projects for the semester. There will be group critiques at various intervals per project.

Prerequisites for the course are a beginning level ceramics course based in hand building or wheel throwing, such as Beginning Ceramics, Ceramics Level 1 Wheel Throwing or Ceramics Level 1 Combined Methods. Non-SMFA students and MAT Art Education students will receive a letter grade.

Ceramics Technical Explorations Michael Barsanti SCP-0132 4 SHU, Wednesday 9-1pm Open to all levels This course will examine the process and science of working in ceramics. We will learn about glaze mixing and experimentation, clay body modifications, kiln firing, mold making for ceramics and slip casting. There will be both assignments and self-directed research.

Prerequisites for this course are Ceramics I or equivalent. Non-SMFA students and MAT Art Education students will receive a letter grade.

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Process and Experimentation

Introduction to Fibers

Hannah Oatman SCP-0134 4 SHU, Thursday 9-1pm Intermediate-Advanced level

Alex Zak SCP-0140 4 SHU, Tuesday 2-6pm Introductory level

Multi-disciplinary course which explores the technical, aesthetic, and conceptual aspects of contemporary jewelry and metalsmithing.

Working properties of ferrous and non-ferrous metals will be covered to facilitate an understanding of material and approach for creating sculpture for the body and sculpture as object.

Learn a different fiber-related technique each week, including: knitting, crocheting, dying, weaving, flexible structures, felting and sewing by hand and machine. Explore the history of these processes and their uses in contemporary art and gain a basic understanding of each technique by focusing on their sculptural capabilities. Non-SMFA students and MAT Art Education students will receive a letter grade.

Ceramics Sculpture

Fabric into Form

Alex Zak SCP-0137 4 SHU, Wednesday 2-6pm Intermediate level

Samantha Fields SCP-0142 4 SHU, Wednesday 2-6pm Introductory level

This course deals with sculptural issues and techniques in ceramics and is open to anyone who is using clay as a component of their artistic process. Projects are open-ended and can include mixed-media sculptural work, installation, performance or related media. Previous experience in ceramics is encouraged but not required.

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

Introduction to sculptural construction with fabric focused on its three-dimensional capabilities. Explores the potential of fabric to create sculpture through class demonstrations, exercises, and of individual projects. Techniques include fabric manipulation through machine and hand sewing, gluing, stiffening, stuffing, pattern drafting, and armature construction, in addition to researching fabric histories and contemporary meanings, as well as past and present artists working in this media.

Non-SMFA students will receive a letter grade.

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Food: The Social and Functional Politics of the Table Tanya Crane, Erin Genia SCP-0144 *Grad Seminar* 4 SHU, Monday 9-1pm Intermediate-Advanced level This course investigates the cultural connections of food and community while learning the history of service-ware, place settings, cutlery, table vessels, and their surrounding rituals, practices, and contexts. Research and the creation of functional and non-functional objects for the table focusing on the intersection of food, politics, consumers, and culture. Non-SMFA students and MAT Art Education students will receive a letter grade.

Exploring Paper Milcah Bassel PRT-0109 / SCP-0150 4 SHU, Thursday 11-1pm, 2-4pm Open to all levels The course will present a broad range of conceptual and technical approaches to thinking about paper as a malleable and interdisciplinary material. Together, we will explore how paper is in dialogue with print, sculpture, architecture, design, and manufacturing. We will examine paper as a technology— a carrier of information, and a performative substrate. Through technical demos and exercises, students will develop a “paper as material” vocabulary, utilizing a range of commercially available papers, traditional handmade papers, and discarded and recyclable fibers. With our hands and bodies, we will explore characteristics and expressions particular and unique to paper, addressing scale, space, and

performance. Through presentations and readings, this course will offer historical and cultural insights into the development and use of paper, while highlighting the work of contemporary artists and experimental practices involving paper as a material. Hands-on projects, discussion, writing, and critique will be an important part of the course, allowing us to develop and share ideas.

Open to all levels.

Intermediate Fibers Studio: Techniques and Concepts Samantha Fields SCP-0160 4 SHU, Thursday 2-6pm Intermediate level Interdisciplinary study of textiles and fiber arts within a contemporary art context, exploring the use of textiles across disciplines including sculpture, painting, performance, and design.

Develop projects, with the aid of individual instruction, critique, readings, shared research, field trips, and visiting lecturers. Designed for students with a basic understanding of fiber-based techniques who are interested in developing their craft and research further.

Prerequisite: Introduction to Fibers or equivalent. Non-SMFA students and MAT Art Education students will receive a letter grade.

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Special Topics: Nonbinary Objects Annie Meyer SCP-0191 2 SHU, Tuesday 6-8pm All levels

Learn to critically analyze physical space through both queer theory and social justice frameworks.

How has the construct of gender been built into the world around us? How is the binary reinforced by physical space? How can object-making be used to support fluid ways of being? Work towards your own proposals through reading, research, discussion, writing, and studio-based exercises.

Visual and Material Studies Food as Sculpture since 1960 Silvia Bottinelli VMS-0128 / ENV-0128 3 SHU, Friday 10:30-1pm All levels Recent curatorial, theoretical and art historical contributions to food-based sculpture and performance addressing food production, consumption, and waste. Themes include ingestion as a form of viewer participation; multisensoriality and disgust; food as expression of gender and sexuality; dining as cultural and relational signifier; environmental concerns associated with food systems; socially engaged meals. The course is grounded in community-based pedagogy and involves collaborations with scientists from the Human Nutrition Research Center on Aging and the Golden Age Center in Chinatown.

Art & the Environment: Visual Ecology Emily Gephart, Silvia Bottinelli VMS-0161 3 SHU, Tuesday 2:30-5pm Open to all levels This course engages with social and environmental discourses as expressed through the histories of art and across the humanities. Students explore traditions of landscape and address environmentally engaged art practices through the lenses of racial and environmental justice; critiques of industrialism, capitalism and colonialism; as well as posthumanist and new materialist philosophies. Addresses how painting, installation, sculpture, performance, video and site-specific projects have responded to conversations about the health, maintenance and regeneration of planet Earth. This vital learning community will foster

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active participation and creative research. Open to all levels. No prerequisites

Negotiated Perception: Photo History Erin Nolan VMS-0193-01 3 SHU, Monday 10:30-1pm An introduction to the visual, material, and cultural debates surrounding lens-based technology from its inception in the nineteenth century to the digital age. Examination within a networked history of photography that constellates cross-cultural currents and comparative national frameworks.

Class explores multiple and overlapping histories of photography, tracing the medium’s migration and adaptation in global contexts. Considers not only what is inside the frame, but also what occurs outside of the photographic lens and those that blur boundaries between genres. Key theoretical readings structure inquiry into historical and epistemological questions, while discussions are grounded in the materiality of photographic objects and image technologies. Visits to Boston area museums as well as in-class object study.

Directions in Contemporary Film Matthew Hipps VMS-0193-02 3 SHU, Tuesday 5-7:30pm Interdisciplinary course examines cinema’s engagement in alternative forms of film exhibition outside of mainstream movie theaters—from the silent era “cinema of attractions,” to the outward explosion of the screen frame in mid-century

widescreen formats and avant-garde expanded cinema, and to multi-screen video installations and digital forms of contemporary moving images which produce embodied, interactive, and immersive storytelling and spectatorial modes.

Broadly surveys historical and theoretical approaches to film’s connection with trends in American spectacle, art, and embodied experiences ranging from panoramas, world's fairs exhibits, amusement parks, planetariums, theme parks, video games, and virtual reality.

Film Analysis in a Global Context Matthew Hipps VMS-0193-03 3 SHU, Monday 4-6:30pm Surveys historical and contemporary approaches to queer cinema, especially representations and expressions of gender and sexuality. Analysis of film and media works which challenge popular representations and critically engage with issues of intersectional identities spanning race, ethnicity, femininity, masculinity, heteronormativity, and LGBTQ+ identities. Also examines systems of oppression (such as racism, sexism, homophobia, and transphobia), the work of feminist activism, and contemporary LGBTQ+ cultures which use cinema as a political tool and artistic form of expression that activates queer meaning.

Art & the Anthropocene, 1800-2022 Emily Gephart VMS-0193-04 3 SHU, Thursday 10-12:30pm Medford 51

Considers global networks of cultural and material exchange in the art of Europe and the US, examined through ecocritical scholarship. Key topics bring ethical and political concerns for the environment, nonhuman animals and social justice to the study of art and visualization. Objects and/or images made between the Industrial revolution and the present day reveal the trans-national origins of the Anthropocene. Emphasis on the changing meanings of visual culture within different historical and cultural contexts, and artists motivated by ecocritical thinking whose work fosters resilient and biologically diverse ecological relations. No prerequisites. Open to all levels.

Afro-Brazilian Diaspora at the MFA Claudia Mattos Avolese VMS-0193-06 3 SHU, Wednesday 2-4:30pm Course focuses on Afro-Brazilian artworks present in the MFA Axelrod collection to understand the centrality of diasporic arts for the visual culture of Brazil. Classes will be taught both at SMFA and MFA, examining original works present in the collection.

Antropofagia: Decolonizing Brazil Imagining the Amazon: Art & Activism Claudia Mattos Avolese VMS-0193-05 3 SHU, Thursday 2-4:30pm Medford Course focuses on the visual culture produced in and around the Brazilian Amazon (1700-2022).

Looks into the rich and diverse indigenous culture of the region and sets its history of confrontation with western culture, from the time of contact to present. Special attention given to contemporary indigenous Amazonian art to consider alternative world views that have opened new and important paths for thinking about ecology and social justice.

Claudia Mattos Avolese VMS-0193-07 3 SHU, Wednesday 10-12:30pm The course aims at a close examination and deconstruction of the concept of Antropofagia created by Brazilian modernist artists in the beginning of the 20th Century and used by successive generations of artists and art critics in Brazil and beyond to think about collective identity and strategies of decolonization.

Art of Ancient Mexico Eulogio Guzman VMS-0193-08 3 SHU, Tuesday 9-11:30am With a cultural history that spans over three and a half millennia, Mexico’s indigenous heritage is rich and varied. This historical continuum is a result of an enduring occupation of several brilliant civilizations that populated Mexico’s diverse

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regions including, the arid northern deserts, the agriculturally rich and temperate climates of Central Mexico, and the lush jungles of the south and tropical eastern coast. This course focuses only on the indigenous art and architecture of Mexico and examines how it manifests many principles such as the cult of the dead; mythical creation and

religion; sacrifice; hard and soft power strategies; and ritual performance among West Mexican, Olmec, Teotihuacan, Zapotec, Huaxtec, Toltec, Mixtec, and Aztec cultures from a range of methods and theoretical approaches across disciplines.

Contact Information 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:

Last Name

First Name

Email

Abrams

Danielle

danielle.abrams@tufts.edu

Arnias

Luis

luis.arnias@tufts.edu

Arthur

Daphne

daphne.arthur@tufts.edu

Barsanti

Michael

michael.barsanti@tufts.edu

Bassel

Milcah

milcah.bassel@tufts.edu

Bottinelli

Silvia

silvia.bottinelli@tufts.edu

Brodell

Ria

ria.brodell@tufts.edu

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Brown

Lizi

lizi.brown@tufts.edu

Burke

Bill

william.burke@tufts.edu

Caponigro

Vin

vin.caponigro@tufts.edu

Carter

Patrick

Patrick.carter@tufts.edu

Cea

Cristobal

cristobal.cea@tufts.edu

Conlon

Kate

kate.conlon@tufts.edu

Crane

Tanya

tanya.crane@tufts.edu

Cruz

David

david.cruz@tufts.edu

de Rosas

Eileen

eileen.de_rosas@tufts.edu

Donohue

Bonnie

bonnie.donohue@tufts.edu

Erdelyi-Perez

Maya

maya.erdelyi_perez@tufts.edu

Fields

Samantha

samantha.fields@tufts.edu

Finnegan

Katharine

Katharine.finnegan@tufts.edu

Fischman

Laura

laura.fischman@tufts.edu

Frenzer

Joel

joel.frenzer@tufts.edu

Friedman

Georgie

georgie.friedman@tufts.edu

Furst

Kay

kay.furst@tufts.edu

Genia

Erin

erin.genia@tufts.edu

Gephart

Emily

emily.gephart@tufts.edu

Gillooly

Jane

Jane.gillooly@tufts.edu

Glover

Sean

nicholas.glover@tufts.edu

Goss

Charles

charles.goss@tufts.edu

Graham

Dan

dan.graham@tufts.edu

Gualdoni

Angelina

angelina.gualdoni@tufts.edu

Guertin

Justin

justin.guertin@tufts.edu

Guzman

Eulogio

eulogio.guzman@tufts.edu

Hamboussi

Anthony

anthony.hamboussi@tufts.edu

Harris

Anne

anne.harris@tufts.edu

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Heder

Thyra

thyra.heder@tufts.edu

Hipps

Matthew

TBD - Contact Eulogio.Guzman@tufts.edu

Hlynsky

Andrew

andrew.hlynsky@tufts.edu

Hou

Boyang

boyang.hou@tufts.edu

Hull

Kata

kata.hull@tufts.edu

Life

Justin

justin.life@tufts.edu

Loper

Patte

patte.loper@tufts.edu

Lundsager

Eva

eva.lundsager@tufts.edu

Lyman

Mela

mela.lyman@tufts.edu

MacIntyre

Tom

tom.macintyre@tufts.edu

MacMahon

Michael

Michael.macmahon@tufts.edu

Mandel

Mike

Michael.mandel@tufts.edu

Martin

Vincent

vincent.martin@tufts.edu

Mattos Avolese Claudia

Claudia.avolese@tufts.edu

McDonald

Emily

emily.mcdonald@tufts.edu

McMillan

Karmimadeebora karmimadeebora.mcmillan@tufts.edu

McMillan

Megan

megan.mcmillan@tufts.edu

Mencoff

Greg

greg.mencoff@tufts.edu

Metcalf

Mara

mara.metcalf@tufts.edu

Meyer

Annie

annie.meyer@tufts.edu

Mobley

Triton

triton.mobley@tufts.edu

Moody

Rick

rick.moody@tufts.edu

Moridpour

Neda

neda.moridpour@tufts.edu

Mozman Solano Rachelle

rachelle.mozman_solano@tufts.edu

Mukii

Ng'endo

ngendo.mukii@tufts.edu

Munson

Jennifer

jennifer.munson@tufts.edu

Murrow

Ethan

ethan.murrow@tufts.edu

Stephen

Muscolino

stephen.muscolino@tufts.edu

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Muskat

Carolyn

carolyn.muskat@tufts.edu

Nakadate

Laurel

laurel.nakadate@tufts.edu

Nolan

Erin

TBD - Contact Eulogio.Guzman@tufts.edu

Oakley

Be

be.oakley@tufts.edu

Oatman

Hannah

hannah.oatman@tufts.edu

Ohsawa

Asuka

asuka.ohsawa@tufts.edu

Page

Paola

paola.page@tufts.edu

Ralske

Kurt

kurt.ralske@tufts.edu

Reese

Laura Beth

laura.reese@tufts.edu

Reiss

Kendall

kendall.reiss@tufts.edu

Romero

Anthony

Anthony.romero@tufts.edu

Ros

John

john.ros@tufts.edu

Rosenberg

Rhoda

Rhoda.rosenberg@tufts.edu

Schmidt

Jennifer

Jennifer.schmidt@tufts.edu

Scott

Peter

peter.scott@tufts.edu

Shozawa

Katherine

katherine.shozawa@tufts.edu

Smith

Ryan

ryan.smith@tufts.edu

Smoot

Michael

michael.smoot@tufts.edu

Soyk

Jeff

jeff.soyk@tufts.edu

Strom

Mary Ellen

mary_ellen.strom@tufts.edu

Zak

Alex

alex.zak@tufts.edu

Zakari

Chantal

Chantal.zakari@tufts.edu

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