This semester course will be connected to the residency in the RISD Museum of the Raqs Media Collective, New Delhi-based artist provocateurs. As part of this experimental course students will explore manuscript marginalia and develop a body of artistic, literary, philosophical, and narrative resources that culminate in an experimental manuscript. "We may all be on the same page, but no one is at the center. The margin is everywhere." -Raqs Media Collective With the rapid dissolution of any pretense of a single pivotal meta-text that enables a reading of the world in terms of stable centers and peripheries, marginalia - acts of writing and drawing on the margin - take on a new significance. 'A Myriad Marginalia' is an experimental studio designed by the Raqs Media Collective, drawing on conversation, collective annotation and the gathering of materials in order to transform the practice of the thinking artist. The margin has its own force-field. Medieval illuminated manuscripts come alive at the margins. "Marginalists" (generally apprentices to scribes and illustrators) inscribe figures and tropes embodying profane wisdom, popular proverbs, burlesque figures, chimerical creatures, and fantastical or allegorical allusions that construct a counter-narrative to the main body of a master text. Sometimes, this is where the new ideas that change everything make their first appearance. During their time at RISD, Raqs will maintain a studio dedicated to the exploration of marginalia in the wake of the dissolution of the power of any central codex. The studio will cultivate the specific kind of attentiveness necessary to pursue and parse the marginal. In their time at the studio, Raqs will also work on the making of what they call a 'myriad marginal manuscript' - an artistic work that indexes their what they consider to be their ongoing entanglement with the seven billion people of the planet. In the course of doing this, they will develop (with students) a body of artistic, literary, philosophical and narrative resources that enable a rich and growing conversation across all media, on the vistas opened out by standing on the margin. Class trips in planning will include the Queens Museum for a guided tour of the ground-breaking exhibition After Midnight: Indian Modernism To Contemporary India 1947/ 1997 with artist Suddhabrata Sengupta. Junior and above
This intensive course is designed to immerse students in select, salient debates impacting the direction and parameters of contemporary painting. The goal is not only to introduce and familiarize, but also to collectively and actively generate possibilities for and within the medium. Six overlapping nodes, or case studies, each accompanied by readings and a list of relevant artists, guide our investigation: Endings and Beginnings, Monochromania, Photoshop Killed the Photographer Killed the Painter, Market Mechanisms (and Academic Exercises), Regional Painting, and Narrative. When possible, current exhibitions will be discussed. The course will be seminar style sessions interspersed with critique and discussion of the work of enrolled students. Major elective, Painting seniors only
This studio-based course will provide the foundation necessary to understand basic color theory and practice in painting, art, and design. An historical and cultural perspective will be introduced to inform ongoing color studies executed in the studio. Students will acquire the vocabulary to articulate color phenomena and the means to exploit the expressive potential of color in their work. Color studies will be principally created with gouache, and a variety of other materials and means will also be explored. Lectures, demonstrations, and museum visits will supplement studio work. A short research paper is required. Elective; Open to all majors
This seminar will examine a series of canonical readings of contemporary art, focusing primarily on key writings published in the journal October and the magazine Artforum since 1975. We will engage in detail with such overarching critical concepts as postmodernism, neo-avant-garde, site-specificity, and relational aesthetics. We will also examine readings that draw on concepts such as the fetish, the abject, the informe, the gaze, primitivism, and postcolonialism. Finally, we will attend to issues of writerly style and method, seeking to understand the wide variety of tools that critics and art historians employ to understand, historicize, and enrich our understanding of works of contemporary art. Major requirement; Painting majors only Registration by Painting department, course not available via web registration Also offered as HAVC-H490 for non-painting majors Requirement for Junior Painting Majors Also offered as HAVC-H490 for non-painting majors
This is a hands-on, project-based introduction to computers and digital multimedia for artists. The course is designed to be an ongoing discussion on art, design and personal work informed by digital images, sound, video, animation, interactive multimedia, and the Internet. Major elective; Painting majors only
A continued examination and development of drawing skills. This course is coordinated with Painting II. Major requirement; Painting majors only Registration by Painting department, course not available via web registration
This course examines the definition of drawing in the twentieth century. The student, while working from the basis of their own thematic and formal agenda, is directed to explore contemporary approaches to drawing. Through assignments and weekly group critiques, they will seek to broaden the conceptual basis for their work. Majors take this class or Paint 4521 or Paint 4597 Major elective, Painting majors only
This period is designed for the student to evaluate and analyze and pursue the directions he/she established in Grad Paint Studio Critique I. Group and individual critiques will occur by resident faculty and visiting artists and critics during the semester. Major graduate requirement; Painting majors only Registration by Painting department, course not available via web registration
This period is designed for development and presentation of a body of work supported by a written thesis in consultation with resident faculty, visiting artists and critics during the semester. A final exhibition of work will be evaluated by a jury of Painting Faculty Members. Graduate major requirement Registration by Painting department, course not available via web registration
This first-year graduate seminar approaches painting as a technical skill, a historical practice and an intellectual project. Weekly sessions begin with group discussions of key readings about recent painting. Readings are organized in three sections. The first looks backward, to the problem of medium that preoccupied modernist painting and, residually, contemporary practices until the 1980s. The second section looks at two phenomena, the academy and the art market, and their effect on how painting is produced, disseminated, discussed and received. The third, the most speculative, looks laterally at a range of contemporary practices from the 1990s to the present. Graduate elective
This course offers a more painterly approach to the intaglio process. The students will produce applications of intaglio, such as collographs, large color monotypes and collage. Growth of imagery and technique will be encouraged through medium. A portfolio of prints will be produced. Major requirement; Painting majors only
This is a comprehensive course designed to test the student's ability to create, complete, and document a Degree Project of his or her choosing. The Degree Project should be a distinct, carefully conceived, exhibition-ready body of work which reflects the issues and objectives of your art. The Senior Degree Project is distinct from your Woods-Gerry Gallery exhibition, although its work can overlap with that exhibition. Major requirement; Painting majors only Registration by Painting department, course not available via web registration
Working with a wide array of materials, different approaches to physicality and surface, and inventive methods of deploying color other than by brush, this "painting" course will make works that occupy the space of the wall familiar to painting -- but not its most traditional conventions. With a deep engagement in process and informed by readings and targeted artists and art historical movements, students will explore materiality and visual culture. Shopping for "art supplies" will take place as much at Home Depot as at Utrecht. Employing the recycled and trash, the found and gathered, and the manufactured and the natural, the art made will be critiqued for both presence and meaning. From duct tape to cotton balls soaked in acrylic paint -- one finds context, from varying thicknesses of rope dipped in polymer mediums to woven plastic shopping bags -- one finds structure, and from paint squirted from plastic ketchup bottles to fake fur -- one finds attitude. Course open to all majors
The purpose of this course is to continue development based on Painting I. Individual expression will be encouraged through a series of larger works which require greater time and organizational skill. Experimentation in different painting media, including oil, acrylic, watercolor and mixed media will be encouraged. Group and individual critiques are required. Outside work will be assigned. Major requirement; Painting majors only Registration by Painting department, course not available via web registration
This will be a continuation of directions established in Painting III. Student work will be evaluated through group and individual critiques. Visiting Artist lectures will be important to the issues of contemporary art emphasized at this level. The department will schedule an individual review with a Faculty Committee for each student during this course. Major requirement; Painting majors only Registration by Painting department, course not available via web registration
This course would address many practical issues to do with becoming a professional artist after graduation. Some of these issues are: the commercial gallery, the not-for-profit gallery, museums, graduate programs, auction houses, grants, documentation of work, archival storage of work and restoration of artwork. Professionals from the gallery, museum and other fields will be invited to the class to share their expertise with the student. Artists will be invited to talk about their professional experiences. It is a seminar class addressed particularly to the senior painting student. Major elective; Painting majors only Non-majors by permission of instructor
This course is a continued examination of drawing. It takes as its subject the concept of the ground and its relationship to image and mark. Collage, water based media and dry media will be used. Sophomore and above
The history of painting and the trajectory of radical exhibition models in the post-war period have always seemed divergent, even antithetical: the former pursued autonomy, then, more recently, returned to narrative and figuration, while the latter took cue, both morphologically and discursively, from installation, sited, and conceptual art. This course counters such assumptions by examining post-war painting in tandem with key moments in curating (eg. Alanna Heiss' PS1; Okwui Enwezor's Documenta XI; Jerome Sans and Nicolas Bourriaud's Palais de Tokyo; and Dan Cameron's Prospect 1). The course's second half, at once more speculative and hands on, uses the Painting Gallery as a test site for mounting an exhibition or exhibitions, with emphasis on the peculiarities that painting - bounded, rectilinear, and flat - presents. Readings to include Bruce Altschuler, Julie Ault, Thomas Crow, Thierry de Duve, Hal Foster, Brian O'Doherty and others. The course has a fee for two field trips to New York. Elective; Senior and above
An introductory level course for Painting majors. Students will develop drawing skills and insights and consider basic visual language issues. Syllabus is coordinated with Painting I. Must also register for PAINT 4501 Major requirement; Painting majors only Registration by Painting department, course not available via web registration
This seminar course will introduce students to the complex and growing terrain of contemporary South Asian art via three key intersecting areas of inquiry: drawing, narrative, and materiality as explored by contemporary artists working in the South Asian subcontinent and diaspora. Through critically engaged discussion, readings, screenings, and talks, we will examine a wide range of contemporary art practices, including comic and graphic novel based works, site-specific installation, street art, and the role of materiality and process in contemporary South Asian art practice. Alongside an in-depth investigation of specific artists and their practices, we will also situate these works within key theoretical texts and exhibitions generated in the field, in order to shed light on the social, political, and art-historical discourses in which they are situated, and their impact on the global contemporary art scene. Junior and Above
This course will provide the foundation for the creation of an archival painting practice for both traditional and contemporary painting methods. Topics covered will include tools, preparation process for both canvas and wood panels, sizes and grounds, drying oils, varnishes and resins, pigments, solvents, painting procedures, and the care of finished paintings. A historical overview of traditional methods and materials including egg tempra and oil paint will be covered, in addition to modern alkyd resins and acrylics. RISD's Environmental Health & Safety practices that pertain to painting practice and painting studio safety will be an integral part of this course. A short research paper is required to supplement studio work. Major requirement; Painting majors only Registration by Painting department, course not available via web registration
This course presents the graduate student with a series of problems intended to develop drawing as a tool for inquiry into a terrain outside the well-known beaten paths of his/her past studio practice. Expanding the role for drawing in studio experimentation is a goal. Work will be done outside class. There are critiques each week. Graduate major requirement Registration by Painting department, course not available via web registration
This period is designed for the students to evaluate and analyze the directions he/she established as an undergraduate. Criticisms of the student's work will be aimed at identifying strengths and weaknesses and help the students clarify fundamental objectives. Group and individual critiques will occur by resident faculty and visiting artists and critics during the semester. Successful completion of this course is a prerequisite for continuance in the program. Graduate major requirement Registration by Painting department, course not available via web registration
This period is designed as an advanced critique course which involves visits by resident faculty, visiting artists and critics, with special reference to current issues and concerns in contemporary art. Graduate major requirement Registration by Painting department, course not available via web registration
An introduction to the basic language of the painting discipline. Emphasis on the plastic and formal considerations necessary for work that willbecome an increasingly personal statement. Must also register for PAINT 4519 Major requirement; Painting majors only Registration by Painting department, course not available via web registration
The primary goal of this course will be to shift the responsibility of direction, problem-solving and problem- development from the Faculty Instructor to the student. But this will be accomplished with a great deal of faculty involvement and support. The class will begin with group assignments which will become increasingly independent. Group and individual critiques will continue as an integral part of the curriculum, with an emphasis on contemporary art and criticism. Major requirement; Painting majors only Registration by Painting department, course not available via web registration
This is an intensive program designed to test the student's ability to design, organize, and complete a project of his or her choosing. Major requirement; Painting majors only Registration by Painting department, course not available via web registration
This is a course in which first-semester seniors who have already demonstrated unusual commitment, ambition and initiative within their majors will pursue and discuss independent work in a setting that reflects, as closely as possible, the interdisciplinary conversation that actually takes place around advanced art practice today. The course is intended to allow those working within medium-specific vocabularies to test how their work will make meaning in an art world in which a variety of disciplinary histories and conventions coexist, clash, and inform one another, as well as to provide an opportunity for students whose work bridges two or more disciplines (or involves performance/new genres/post-studio approaches) to learn from one another and from faculty capable of addressing all of these sorts of practices. This is a demanding critique course with additional seminar components (readings, screenings, discussions, slide presentations, etc.), and as such students can expect a workload equivalent to a core studio requirement within their major. Acceptance into the course will be based on a GPA of 3.25 or greater as well as the recommendation of faculty and department heads from the student's major and on review of previous work. Candidates will be identified in discussions between the instructor and department heads during the preceding spring semester. Successful completion of ARTH-H490/PAINT-4507 (Contemporary Art & its Discourses) or equivalent coursework is a prerequisite, ensuring students have a shared understanding of the art historical context for interdisciplinary. The maximum enrollment is limited to seminar-size (c. 15 students) in order to provide sufficient attention to each student's work in group and individual critiques while still allowing for seminar-style discussions.
The main objective of this course will focus on the creation of spaces, both figurative and physical, that produce unprecedented realms for acts of performativity. Modern histories of object making and exhibitions (painting, sculpture and installation) and the trajectory of performance have been intricately linked in scholarship and exhibitions. From the collaborations of the Cabaret Voltaire, Rauschenberg/Cage/Cunningham, to directors like Robert Wilson and Richard Foreman to the recent work of Cindy Sherman, the paintings of R.H. Quaytman and the fluid installations Lucie Mackenzie, strategies of object making have coalesced with performance in formality and concept. This convergence has challenged conventional ideas of theatricality and theatre design. This course will examine these dynamic histories and scholarship, and will analyze related exhibitions such as Tate Modern's chronicle A Bigger Splash, Painting After Performance, in 2012-13, which explored the cross pollination between painting in tandem with key moments in performativity. We will examine how this Avant guard linage has influenced and countered conventional productions, and we will seek to design and implement scenarios and spaces contemporaneous to this investigation. The course encourages research and writing as well hands on investigations through the making of objects and performance actions. We will thoroughly examine the concept, design and implementation of tableaux; generating visual scenes that grasp yet challenge familiar theatrical constructs whilst creating performances within these constructs culminating in a collaborative performance production. Throughout the course we will explore documentation as a vehicle for implementing various mediated redelivery systems. We will establish our own Vimeo page for public access to works created during the course as well as an ongoing Internet presence. Using the Tap Room for performances and a drawing studio Memorial hall 312 as tests site for mounting performances and exhibitions, with emphasis on finding new methodologies and delivery systems for this ongoing dialog. The course will culminate play (TDB) presented collaboratively for the entire RISD community in one of the auditoriums. Deposit: $120 Elective; Junior and above
"Three Critics" will offer graduate students the opportunity to get inside the art critic's head and learn how writers think about the visual. Students will be exposed to a wide range of viewpoints and discourse on contemporary art issues as defined by the interests of three different, practicing critics. Each critic will become part of the RISD community for approximately one month, conducting 3 sessions on campus and one in New York or Boston. On-campus meetings will consist of lectures, reading and writing assignments, group critiques and one-on-one studio visits. Off-campus trips will include visits to museums, galleries and artist studios. Small groups of students will be expected to lead several classes. Outside coursework and full participation in class discussion required for successful completion. Graduate major requirement Registration by Painting department, course not available via web registration Requirement for second-year graduate Painting graduate students. Five additional seats available for Fine Arts graduate students. For admission, students submit a one-page writing sample to the Graduate Painting Coordinator.
Our conceptions of abstract painting may lie in a romantic notion of expressionism, the lofty spirituality of intuitive painters, or a cold calculated sense of execution found in minimalism. We may even feel that in today's pluralistic age of art making that abstraction may only serve the whims of dealers and collectors in the market. I would argue that the practice of abstract painting can be extremely radical, allowing for endless possibilities and manifestations of images through the act of painting. Sustaining this practice expands the mind and material understanding of the maker. This course is for the student looking for a hands on investigation into the methods and material practices of abstraction. We will focus on the tools, techniques, and conceptual methods employed by abstract painters through time to build a foundation for beginning a new body of abstract work, or enhancing a student's practice already in motion. Attitudes and Actions could easily stand for motives and techniques, as we will supplement our studio work with readings from artist interviews, critics, and art historians from the past and present. We will learn how these artists approached their work and how we can apply their lessons to our own work without simply stealing their pictorial devices for our own use. We discuss the work of seminal abstractionist such as Juan Miro, Arshile Gorky, Richard Diebenkorn, Cy Twombly, Willem DeKooning, Philip Guston, Amy Sillman, Bill Jensen, Charlene von Heyl, Robert Gober, and Per Kirkeby. As we progress we will have an open dialogue allowing for all types of fuel for speculation of abstract painting, including poetry, film, philosophy, new media, etc. This course will be divided into three sections dealing with three time periods of abstraction, to give structure to the readings and assignments. These include Past forms of Abstraction(Modernism and it's offshoots), Contemporary forms of Abstraction, and finally Speculative forms of Abstraction. Slide lectures and readings will accompany each section.
This course is a laboratory sited at the crossroads where drawing and the physical world overlap, perform, and deploy one another. Logistically speaking, assignments will address the challenges implicit in making work beyond the rectangle of the page. We will engage this subject through a combination of studio-based assignments, readings, and in-class discussions and critiques. In specific terms, we will be working through a series of studio-based assignments that will aid us in our interrogation and engagement of the mimetic, sublime, and theatrical notions of space. Together we will arrive at an understanding of these terms by using Miwon Kwon's text "Promiscuity of Space: Some Thoughts on Jessica Stockholder's Scenographic Compositions" as a roadmap for our inquiries. Kwon's essay presents an alternative narrative to the claims made by Rosalind Krauss in her influential text Sculpture in the Expanded Field. In Kwon's essay there is a prompt to investigate connections between Krauss' "Expanded Field of Sculpture" and the 'field' of Color Field paintings. This course takes the possibility of a connection between these spatial locations to its logical conclusion via the medium and activity of drawing in 3-D space.
How have systems of representation and various image-making devices through which we make meaning changed in condition since the onset of the digital and mass image production? Extracting the Real: Painting and Representation will explore various historical approaches to representation within the context and history of painting. We will investigate what representation is within the medium of painting, what some of the basic devices for representation are, why they are used, and how these systems can serve the purposes of an artist's project to generate meaning in various ways. The course will initially begin with painting directly from life - perhaps the most classical, exemplary standard technology for representation - and will move to consider how other 19th and 20th Century technologies of mimesis - photography/film and other forms of indexical mark making - have functioned to change, complicate, or revise the ways images are both created and received. How might these various multi-media approaches to representation be considered as painting? Are the technologies for mediation that are thought of as belonging to photography and film in fact owed to painting? What are the conditions particular to the hand painted mark as opposed to the photographic and/or indexical one and where might the binary become blurry? How does each of these approaches to representation and image-making function differently to define content? Open-ended assignments will prompt students to experiment with and/or reexamine a few of the predominant historical approaches to representation through the frame of painting, and critiques will further our dialogue around an understanding of what representation is and how it functions. Readings will be assigned to assist in the development of this dialogue. The course will culminate in individual projects based on a system (or combination of systems) of representation of the students' invention. In tandem to this final project, students will also create a brief, written definition of their individual understanding of what representation is, through the lens of painting, as a reflection on the course.
This course will investigate cultural traditions of the "monster", broadly defined as an entity of horrific other-ness. Monsters can be microscopic or gigantic, savage or pathetic, infectious or predacious. Monsters of all sorts, real and imagined, continue to invade our lives. Their narrative depiction has developed culturally as a metaphorical exploration of our deepest fears. tDuring the class our interest will be in a three dimensional communication and transcription of monster related imagery. While working with a variety of sculptural materials we will stimulate imagination through films, slides, books and articles. We will distill these influences into our own themes, grandiose, frightening and seductive. Our goal will be to forge connections between themes of fear from the distant, and those of our present lives.
This course aims to think of abstraction not as a synonym of modernism but as a contemporary practice. The course will focus on building a foundation on abstract painting by using themes that respond to nature (anatomy, landscape, etc.) and themes that respond to culture (architecture, language, technology, etc.) Throughout the course, we will work with a variety of theatrical sets, photographs and 3D models that embody the themes mentioned above. The student will be asked to explore the presented reality and develop a visual language by abstracting, completing or creating an altered narrative. Presentations and readings will serve as an instrument to understand not only the formal aspects of paintings but also, its sociopolitical and cultural connections. This course will generate a body of work that portrays the student's interests and curiosities about the present day and abstract art. A final project will complete the course.
In this course, students will investigate various approaches to representing the figure in contemporary art. Such things as the historical, psychological and narrative implications of using a human form in a work of art will be emphasized. There will be an exploration of studio-based strategies that will include working from observation and using mediated imagery such as film stills and photography. Students will start with in-class assignments working from a model in an interior that will culminate in a large-scale project that investigates the broader interpretation of figuration. Students will be challenged in technical, formal and conceptual approaches to creating a figurative work of art. While technical instruction will be focused primarily on painting, drawings and collage, students will be encouraged to also work in the media of their choice. In-class assignments will be supplemented with PowerPoint presentations as well as film and video screenings, reading materials, and critiques.
This course is a comprehensive introduction to painting. It will be a marathon of daily painting assignments designed to develop confidence and experience with representational painting. We will examine historical and contemporary trends and paint from life models and photo sources. Fundamental techniques for basic ground preparation, oil painting mediums and direct as well as indirect processes will be taught. Representational painting will be the primary focus but experiences in abstract painting will also be encouraged. We will learn abstract principles that organize composition, depict spatial illusion and describe form while developing a shared language in critiques. No prior painting experience is required and Foundation students considering painting as their major are encouraged to enroll, as well as majors from other departments. Students are advised not to take a second Wintersession course because of the commitment of time this course will require.
"For there is no folly of the beast of the earth which is not infinitely outdone by the madness of men." - Herman Melville, Moby Dick Located just 35 minutes east of RISD, the New Bedford Whaling Museum offers a fascinating and often disturbing perspective on the emergence of modernity along side the systematic hunting and harvesting of whales to the brink of extinction. Through several visits to the museum this course asks students to reflect upon and interpret a wide range of interrelated subjects including folk art, nautical culture, colonial politics, marine biology and museum display. With additional access to museum archives students address these topics through research-based projects that employ drawing, painting, and installation with particular attention to contextualizing within differing modes of museum display. The New Bedford Whaling museum boasts a rich collection of unique and unusual artifacts that together issue a cautionary tale by asking visitors to contemplate the tenuous line between pursuit of profit and the destruction of that which we hold most sacred.
The class will explore and focus on the vast discourses the medium of drawing offers to an artist. The course will study and move from the traditional to the conceptual to allow for an adequate understanding of the history of drawing and its constant change. The role of the course is to empower students in the studio by giving them a concrete and critical overview of the variety of techniques and methods of conveying and conceptualizing ideas through a flexible and malleable medium.
This course is going to focus on using 'relief' in painting, or the space between 2D and 3D, to facilitate invention and transformation. While there is a rich history of using paint to enhance relief sculpture, there seems to be room for further investigating the use of relief to transform painting. Making three-dimensional decisions for an idea typically expressed in two-dimensions will allow students to rethink the context of their work in relationship to the physical index they create. With the 'relief' in mind, we will examine the following four concepts: relief as obstruction, relief as transformer, relief as pictorial, and relief as reference. In addition, this studio course will reexamine the parameters of painting to facilitate the understanding of using materials as a means to a new beginning, or a generative starting point, rather than a means to an end. We will use a wide range of materials traditionally used in sculpture and construction, to investigate 'relief' painting, as a type of expanded drawing, where 2D, 3D, and process collide to create meaning. Through weekly demos, samples, slide presentations, and videos, we will revisit historical models in an effort to better understand how and why relief has been used in the past and the possibilities it has for the future. Emphasis will be placed on making. For the final class each student will be expected to bring in all of their artwork from the class to present not as a finished product, but more of as a body of experiments. All students will be required to document their making process and work.
In Subverting the Nude, we will explore the complexities of the meanings of "nude" and "naked" within painting. We'll inquire about what it means to be a subject or an object, and how to depict these notions on canvas. Subverting the Nude will allow students to challenge traditional representations of figurative painting through depictions of human, animal, and hybrid bodies. We will begin by painting from a model while studying basic human anatomy. Students will then advance beyond conventional figure painting practices into creating informed works that take influence from the body. Students will be encouraged to not only challenge the painted figure, but the history of nude painting itself. Thus, "painting" will not necessarily be restricted to paint on canvas. The format of this course will be influenced by feminist pedagogy, apparent through a style of alternative critique based on Critical Response Process by Liz Lerman. This process is valued as an empowering and non-threatening feedback system. Readings will be based upon criticalities of traditional painting, the objectification of women and animals, and a collaged painting aesthetic.
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