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.

Open to Sophomore Painting Students.

Major Requirement | BFA Painting

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.

Open to Sophomore Painting Students.

Major Requirement | BFA Painting

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.

Open to Sophomore Painting Students.

Major Requirement | BFA Painting

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.

Open to Sophomore Painting Students.

Major Requirement | BFA Painting

This course offers a more painterly approach to the intaglio process. The students will produce applications of intaglio, such as collagraphs, large color monotypes and collage. Growth of imagery and technique will be encouraged through medium. A portfolio of prints will be produced.

Open to Junior Painting Students.

Major Requirement | BFA Painting

This course offers a more painterly approach to the intaglio process. The students will produce applications of intaglio, such as collagraphs, large color monotypes and collage. Growth of imagery and technique will be encouraged through medium. A portfolio of prints will be produced.

Major Requirement | BFA Painting

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.

Elective

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.

Open to Graduate Painting Students.

Major Requirement | MFA Painting

This course is a discussion-based collaborative critique studio asking primarily painting / textiles / sculpture students to (re)consider their work as an intentioned dialogue within the history of image-making. Students are asked with great intention to expand the discussion around intersectionality and interdisciplinarity. The course centers collective engagement in a variety of ways through critique, readings in-class discussion, film screenings, lectures and presentations that exemplify the decolonial practices of writers/artists classic and current. Central to the class are Queerx, trans, and non-binary Black & Brown Folx, artists / writers / makers who intrinsically occupy interdisciplinary practices.

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.

Interdisciplinary Critique Studio comprises multiple voices, ways of thinking through and being with oneselve and their practice in a way that does not bound ourselves to siloed ideas. Central to the course is risk-taking, question-asking and a vast ability to reimagine all aspects of one’s being as a part of your practice. Within we will center the voices and practices of seemingly marginalized artists and practitioners, who breach the boxes imposed on them with hopes of inspiring students to breach those boxes themselves. Within the Studio students will learn to ask themselves Why, and Why Not, Who and What For, When and How Come, in order to develop futurity for the communal being, for the dialogic, for our persons, and the other fol(x) we want to see at the finish line. Together we will meditate on the magics of migrations, celebrations, revolutions, interventions, bodily and otherwise.

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.

Elective

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.

Elective

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.

Open to Graduate Painting Students.

Major Requirement | MFA Painting

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.

Major Requirement | MFA Painting