This seminar/studio course is centered around a series of invited artists, writers, scientists who work at the intersection of diverse identities and lived experiences to model their specific perspectives on making as a counterpoint to historically euro-centric and monolithic approaches that have burdened glass as a creative medium. Readings, discussions and class activities prioritize issues of identity, culture, gender, race, colonialism - questioning past cannons of making and proposing challenging alternatives. The participatory and collaborative work done for this class is fundamental to our thinking and making community; a willingness to share ideas and make earnest attempts to connect and support one another is central. Our lecturers and HotNights participants set a broad and challenging spectrum of topics which are built on by the research and perspectives of everyone in the class. In each case, we will strive to address topics, discussions and shop time problem solving in a manner that is respectful to all individuals.

Juniors register for GLASS-4316 (Fall) and GLASS-4318 (Spring).

Seniors register for GLASS-4320 (Fall) and GLASS-4322 (Spring).

Major Requirement | BFA Glass

This seminar/studio course is centered around a series of invited artists, writers, scientists who work at the intersection of diverse identities and lived experiences to model their specific perspectives on making as a counterpoint to historically euro-centric and monolithic approaches that have burdened glass as a creative medium. Readings, discussions and class activities prioritize issues of identity, culture, gender, race, colonialism - questioning past cannons of making and proposing challenging alternatives. The participatory and collaborative work done for this class is fundamental to our thinking and making community; a willingness to share ideas and make earnest attempts to connect and support one another is central. Our lecturers and HotNights participants set a broad and challenging spectrum of topics which are built on by the research and perspectives of everyone in the class. In each case, we will strive to address topics, discussions and shop time problem solving in a manner that is respectful to all individuals.

Juniors register for GLASS-4316 (Fall) and GLASS-4318 (Spring).

Seniors register for GLASS-4320 (Fall) and GLASS-4322 (Spring).

Major Requirement | BFA Glass

This course frames contemporary art as a set of conversations, arguments and counterarguments that have been proposed in key exhibitions, works of art, and critical writings produced across multiple continents over the past three decades. We will identify and critique the ideas that have shaped contemporary art, discuss their impetus, and examine their assumptions. Through such conversations, the course presents contemporary art as a form of processing a present and a past in which the artwork is indivisible from the dialogues and conversations that create, define and continue to change it. The title of the class alludes not only to the idea of making and reading contemporary art as cognitive, rhetorical and dialogic activities, but also to the art world as a series of geographically dispersed and temporally promiscuous processes, deeply resistant to modernist systems of order, periodization and mapping. The course combines lectures by the instructor, as well as by visiting critics and art historians, which outline some of the key issues and historical pressures of contemporary art, alongside seminar-type discussions where we process the lectures and select readings as a group.

Elective

This studio course is based on the premise that the narrative shaping of information is fundamental to human communication. As active participants in cultural production, graphic designers naturally collaborate within varied areas of expertise, assuming a documentary role in how society views itself. Narrative methods enable us to speak to (and through) any content with a sense of the story it has to tell - visually representing historical, curatorial, scientific, and abstract ideas and events. Students will explore design as a process of storytelling that includes linear and non-linear relationships, with an emphasis on developing formal strategies for multiple approaches to shaping a narrative experience from given as well as self-generated content. Particular emphasis is on sequence, framing, cause and effect, the relationships between elements, and the synthesis of parts into wholes. With text and image, and across media, we employ narrative methods to make sense of complex content meant to be shared and understood.

Majors are pre-registered for this course by the department. Enrollment is limited to Graduate Graphic Design Students.

Major Requirement | MFA Graphic Design (2yr)

History is a powerful tool; a basic understanding of the history of design and familiarity with important design movements and designers is essential for thorough design work. By examining the work of other designers, we are better able to identify our own interests and concerns, and avoid repeating mistakes that have been navigated in the past. This lecture-based class will present the history of Industrial Design in a way that links it to today's studio work, and offers connection points to link past innovation and design activity with future design success. The lectures present a chronological overview of the profession of Industrial Design and its antecedents. Topics discussed will include major design movements, significant designers, manufacturers, and design-related companies, innovations in technology and material use, the development of sales, marketing, and user-focused designing, and the history of design process. Coursework includes extensive reading, in-class presentations based on independent research, projects, and writing.

Majors are pre-registered for this course by the department. Preference is given to Sophomore Industrial Design Students.

Major Requirement | BFA Industrial Design

History is a powerful tool; a basic understanding of the history of design and familiarity with important design movements and designers is essential for thorough design work. By examining the work of other designers, we are better able to identify our own interests and concerns, and avoid repeating mistakes that have been navigated in the past. This lecture-based class will present the history of Industrial Design in a way that links it to today's studio work, and offers connection points to link past innovation and design activity with future design success. The lectures present a chronological overview of the profession of Industrial Design and its antecedents. Topics discussed will include major design movements, significant designers, manufacturers, and design-related companies, innovations in technology and material use, the development of sales, marketing, and user-focused designing, and the history of design process. Coursework includes extensive reading, in-class presentations based on independent research, projects, and writing.

Majors are pre-registered for this course by the department. Preference is given to Sophomore Industrial Design Students.

Major Requirement | BFA Industrial Design

History is a powerful tool; a basic understanding of the history of design and familiarity with important design movements and designers is essential for thorough design work. By examining the work of other designers, we are better able to identify our own interests and concerns, and avoid repeating mistakes that have been navigated in the past. This lecture-based class will present the history of Industrial Design in a way that links it to today's studio work, and offers connection points to link past innovation and design activity with future design success. The lectures present a chronological overview of the profession of Industrial Design and its antecedents. Topics discussed will include major design movements, significant designers, manufacturers, and design-related companies, innovations in technology and material use, the development of sales, marketing, and user-focused designing, and the history of design process. Coursework includes extensive reading, in-class presentations based on independent research, projects, and writing.

Majors are pre-registered for this course by the department. Preference is given to Sophomore Industrial Design Students.

Major Requirement | BFA Industrial Design

History is a powerful tool; a basic understanding of the history of design and familiarity with important design movements and designers is essential for thorough design work. By examining the work of other designers, we are better able to identify our own interests and concerns, and avoid repeating mistakes that have been navigated in the past. This lecture-based class will present the history of Industrial Design in a way that links it to today's studio work, and offers connection points to link past innovation and design activity with future design success. The lectures present a chronological overview of the profession of Industrial Design and its antecedents. Topics discussed will include major design movements, significant designers, manufacturers, and design-related companies, innovations in technology and material use, the development of sales, marketing, and user-focused designing, and the history of design process. Coursework includes extensive reading, in-class presentations based on independent research, projects, and writing.

Majors are pre-registered for this course by the department. Preference is given to Sophomore Industrial Design Students.

Major Requirement | BFA Industrial Design

This course explores the relationships between new media languages and physical space. Building from the history and aesthetics of installation art and relational theater and based on conceptualizations such as "Relational Architecture" by Lozano-Hemmer and the "Poetics of Augmented Space" by Lev Manovich, we will learn to leverage interactive and audiovisual elements in order to design spatial experiences that are media-rich, relational, and responsive. We will use software, video-projectors, sensors and VR equipment, and explore emergent techniques including video-mapping, computer vision and augmented reality. We will learn to deploy not only vision, but also hearing and haptics to create immersive and multi-sensory environments. Class is comprised of lectures, hands-on workshops and individual projects. Students will gain a deep understanding of topics of spatial thinking and user-generated experiences related to space, as well as a theoretical and critical understanding of the history of installation and interactive arts. Although not a prerequisite, basic coding or scripting knowledge (Processing, javascript, or MAX, Touch Designer, etc.) is recommended.

Estimated Cost of Materials: $250.00

Elective

The ability to articulate ideas visually is the most important skill an illustrator has. Building on knowledge of observed and invented form in space gained in fall semester, this class will explore the human figure as physical form and as a vector for narrative and expression. Anatomical study, volumetric form, foreshortening, gesture, as well as balance and counterbalance will help ground and energize the figures physically. Narrative content and sequential reading will be explored in reference to the interaction of figures in a spatial context, and in relation to an imagined viewer. Additionally the student will be asked to consider complex integration of observed, researched and imagined imagery in the creation of more advanced independent personal work. Drawing will be approached as an investigative tool, one that supports all aspects of studio practice, from more, developed works to quick research studies for paintings or other media. Narrative, expressive and conceptual issues will become increasingly consequential as students become more versed in defining , building and shaping their imagery. Various media and methods of working, including a role for limited color, will be introduced.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

The ability to articulate ideas visually is the most important skill an illustrator has. Building on knowledge of observed and invented form in space gained in fall semester, this class will explore the human figure as physical form and as a vector for narrative and expression. Anatomical study, volumetric form, foreshortening, gesture, as well as balance and counterbalance will help ground and energize the figures physically. Narrative content and sequential reading will be explored in reference to the interaction of figures in a spatial context, and in relation to an imagined viewer. Additionally the student will be asked to consider complex integration of observed, researched and imagined imagery in the creation of more advanced independent personal work. Drawing will be approached as an investigative tool, one that supports all aspects of studio practice, from more, developed works to quick research studies for paintings or other media. Narrative, expressive and conceptual issues will become increasingly consequential as students become more versed in defining , building and shaping their imagery. Various media and methods of working, including a role for limited color, will be introduced.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

The ability to articulate ideas visually is the most important skill an illustrator has. Building on knowledge of observed and invented form in space gained in fall semester, this class will explore the human figure as physical form and as a vector for narrative and expression. Anatomical study, volumetric form, foreshortening, gesture, as well as balance and counterbalance will help ground and energize the figures physically. Narrative content and sequential reading will be explored in reference to the interaction of figures in a spatial context, and in relation to an imagined viewer. Additionally the student will be asked to consider complex integration of observed, researched and imagined imagery in the creation of more advanced independent personal work. Drawing will be approached as an investigative tool, one that supports all aspects of studio practice, from more, developed works to quick research studies for paintings or other media. Narrative, expressive and conceptual issues will become increasingly consequential as students become more versed in defining , building and shaping their imagery. Various media and methods of working, including a role for limited color, will be introduced.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

The ability to articulate ideas visually is the most important skill an illustrator has. Building on knowledge of observed and invented form in space gained in fall semester, this class will explore the human figure as physical form and as a vector for narrative and expression. Anatomical study, volumetric form, foreshortening, gesture, as well as balance and counterbalance will help ground and energize the figures physically. Narrative content and sequential reading will be explored in reference to the interaction of figures in a spatial context, and in relation to an imagined viewer. Additionally the student will be asked to consider complex integration of observed, researched and imagined imagery in the creation of more advanced independent personal work. Drawing will be approached as an investigative tool, one that supports all aspects of studio practice, from more, developed works to quick research studies for paintings or other media. Narrative, expressive and conceptual issues will become increasingly consequential as students become more versed in defining , building and shaping their imagery. Various media and methods of working, including a role for limited color, will be introduced.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

The ability to articulate ideas visually is the most important skill an illustrator has. Building on knowledge of observed and invented form in space gained in fall semester, this class will explore the human figure as physical form and as a vector for narrative and expression. Anatomical study, volumetric form, foreshortening, gesture, as well as balance and counterbalance will help ground and energize the figures physically. Narrative content and sequential reading will be explored in reference to the interaction of figures in a spatial context, and in relation to an imagined viewer. Additionally the student will be asked to consider complex integration of observed, researched and imagined imagery in the creation of more advanced independent personal work. Drawing will be approached as an investigative tool, one that supports all aspects of studio practice, from more, developed works to quick research studies for paintings or other media. Narrative, expressive and conceptual issues will become increasingly consequential as students become more versed in defining , building and shaping their imagery. Various media and methods of working, including a role for limited color, will be introduced.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

The ability to articulate ideas visually is the most important skill an illustrator has. Building on knowledge of observed and invented form in space gained in fall semester, this class will explore the human figure as physical form and as a vector for narrative and expression. Anatomical study, volumetric form, foreshortening, gesture, as well as balance and counterbalance will help ground and energize the figures physically. Narrative content and sequential reading will be explored in reference to the interaction of figures in a spatial context, and in relation to an imagined viewer. Additionally the student will be asked to consider complex integration of observed, researched and imagined imagery in the creation of more advanced independent personal work. Drawing will be approached as an investigative tool, one that supports all aspects of studio practice, from more, developed works to quick research studies for paintings or other media. Narrative, expressive and conceptual issues will become increasingly consequential as students become more versed in defining , building and shaping their imagery. Various media and methods of working, including a role for limited color, will be introduced.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

The ability to articulate ideas visually is the most important skill an illustrator has. Building on knowledge of observed and invented form in space gained in fall semester, this class will explore the human figure as physical form and as a vector for narrative and expression. Anatomical study, volumetric form, foreshortening, gesture, as well as balance and counterbalance will help ground and energize the figures physically. Narrative content and sequential reading will be explored in reference to the interaction of figures in a spatial context, and in relation to an imagined viewer. Additionally the student will be asked to consider complex integration of observed, researched and imagined imagery in the creation of more advanced independent personal work. Drawing will be approached as an investigative tool, one that supports all aspects of studio practice, from more, developed works to quick research studies for paintings or other media. Narrative, expressive and conceptual issues will become increasingly consequential as students become more versed in defining , building and shaping their imagery. Various media and methods of working, including a role for limited color, will be introduced.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

The ability to articulate ideas visually is the most important skill an illustrator has. Building on knowledge of observed and invented form in space gained in fall semester, this class will explore the human figure as physical form and as a vector for narrative and expression. Anatomical study, volumetric form, foreshortening, gesture, as well as balance and counterbalance will help ground and energize the figures physically. Narrative content and sequential reading will be explored in reference to the interaction of figures in a spatial context, and in relation to an imagined viewer. Additionally the student will be asked to consider complex integration of observed, researched and imagined imagery in the creation of more advanced independent personal work. Drawing will be approached as an investigative tool, one that supports all aspects of studio practice, from more, developed works to quick research studies for paintings or other media. Narrative, expressive and conceptual issues will become increasingly consequential as students become more versed in defining , building and shaping their imagery. Various media and methods of working, including a role for limited color, will be introduced.

Majors are pre-registered for this course by the department.

Major Requirement | BFA Illustration

This course considers the fiction of the Japanese British Nobel Prize-winning author Kazuo Ishiguro in a world literary context. Based on a selection of his short stories and novels we will discuss, among other things, the different critical perspectives relevant to reading globally in terms of which both the author and his work have often been read, including the manner in which putative signs of Englishness and "Japaneseness" have been attributed especially to his early texts. At the same time, we will consider the intriguing ways in which the author's fiction comments implicitly on its own reading as well as ways of reading world literature. The course also has a film component in that we will view and discuss a film adaptation of one of Ishiguro's novels as well as two other relevant films as a basis for examining how the author's adaptive use of certain narrative techniques has helped shape his style and fictional worlds. In this way, the course engages questions related to ethics, knowledge, cultural translation, narrative and cultural representation, as well as interpretation and critique central to both Ishiguro's fiction and the reading of world literature.

Elective

Sculptural Practices I will take students through three major practices that are essential to the study of Sculpture -- metal fabrication, woodworking and photography/videography. This course is designed to work in tandem with ‘Sophomore Sculpture Studio’ and ‘Sophomore Seminar’. Each section will serve as an introduction to the fundamental ideas within each practice, including artist references, relevant material resources, vocabulary, tools/equipment, and general safety protocol. Students are expected to investigate each skill-set by way of experimentation and research, extending their practice beyond scheduled class time in order to develop familiarity with the processes taught in class. Students can expect to learn proficiency in these skills as well as gain a deeper understanding of the contents of the Sculpture toolkit. They will be encouraged to revisit these processes and tools over and over again throughout their own development. Additionally, they can expand their knowledge through focused studio electives offered in Spring of Sophomore year and in their Junior and Senior years. This course is a requirement for all Sophomore Sculpture majors.

Students are pre-registered for this course by the department; registration is not available in Workday. Enrollment is limited to Sophomore Sculpture Students.

Major Requirement | BFA Sculpture

Sculptural Practices I will take students through three major practices that are essential to the study of Sculpture -- metal fabrication, woodworking and photography/videography. This course is designed to work in tandem with ‘Sophomore Sculpture Studio’ and ‘Sophomore Seminar’. Each section will serve as an introduction to the fundamental ideas within each practice, including artist references, relevant material resources, vocabulary, tools/equipment, and general safety protocol. Students are expected to investigate each skill-set by way of experimentation and research, extending their practice beyond scheduled class time in order to develop familiarity with the processes taught in class. Students can expect to learn proficiency in these skills as well as gain a deeper understanding of the contents of the Sculpture toolkit. They will be encouraged to revisit these processes and tools over and over again throughout their own development. Additionally, they can expand their knowledge through focused studio electives offered in Spring of Sophomore year and in their Junior and Senior years. This course is a requirement for all Sophomore Sculpture majors.

Students are pre-registered for this course by the department; registration is not available in Workday. Enrollment is limited to Sophomore Sculpture Students.

Major Requirement | BFA Sculpture