Visual Arts

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Term
Time & Day Offered
Level
Credits
Course Duration

Theatre Design Collaboration Studio — DRA4369.01

Instructor: Tilly Grimes
Days & Time: TU 2:10pm-4:00pm
Credits: 2

Part 1 of a Page to Stage design Process

Students will work collaboratively to develop design ideas in response to the script for next fall's faculty production. Generating ideas, research and designs all heavily steeped in collaboration and dramaturgy.

Theatre Design Collaboration Studio 1 — DRA4352.02

Instructor: Tilly Grimes
Days & Time: TU 2:10pm-4:00pm
Credits: 2

Part 1 of a Page to Stage design Process

Students will work collaboratively to develop design ideas in response to the script for next fall's faculty production. Generating ideas, research and designs all heavily steeped in collaboration and dramaturgy.

Theatre Design Collaboration Studio 2 — DRA4351.01

Instructor: Tilly Grimes
Days & Time: TU 2:10pm-4:00pm
Credits: 4

This course is the second half of a Page to Stage design Process - focusing on “standing the design up” and getting it realised onstage.

Having completed the designing process students will begin to work through the fabrication and production

Thing Library Project — VA4211.01

Instructor: Yoko Inoue
Credits: 4
Thing Library Project is a research based Visual Arts class in which students investigate critical theories of “thingness” and design and create artwork (designed objects, sculptures, utilitarian goods, garments etc.) to establish an object lending library within the Crossett Library. This collection of three-dimensional items will be classified and catalogued for circulation

Third Cinema — FV2316.01

Instructor: Beatriz Santiago Muñoz
Days & Time: WE 2:10pm-5:50pm
Credits: 4

This course is a seminar focusing on films that were made by filmmakers and collectives which saw themselves as inaugurating a new kind of filmmaking modeled neither on the commercial American filmmaking, nor on the European “Auteur” Cinema, instead crafting a third position, a cinema that was implicated in anti-capitalist and anti-imperialist struggles of the time. These

Tile: Expanding the Parameters — CER2126.01

Instructor: Aysha Peltz
Credits: 4
This course will explore the ceramic medium through the format of tile. Given this as a parameter, we are presented with an exciting opportunity to explore clay in two dimensions and low relief. Students will be introduced to historic and contemporary tiles as examples of both architectural elements and art objects. This general survey of ceramic tiles will include many

Tile: Expanding the Parameters — CER2126.01

Instructor: Aysha Peltz
Credits: 4
This course will explore the ceramic medium through the format of tile. Given this, as a parameter, we are presented with an exciting opportunity to explore clay in two dimensions and in low relief. Students will be introduced to historical and contemporary tiles as examples of both architectural elements and art objects. Tiles will be made using various building methods

Tile: Expanding the Parameters — CER2126.01

Instructor: Aysha Peltz
Credits: 4
This course will explore the ceramic medium through the format of tile. Given this as a parameter, we are presented with an exciting opportunity to explore clay in two dimensions and low relief. Students will be introduced to historic and contemporary tiles as examples of both architectural elements and art objects. This general survey of ceramic tiles will include many

Time Capsule 2016 — MOD2159.01

Instructor: Erika Mijlin
Credits: 1
If we were to prepare a time capsule to leave behind for a future generation to open, how would we go about it? What would we include? What kinds of questions would we have to ask in order to decide on a list of items? First, we might have to define ‘ourselves’, and what we know and think about our time and place in history. Then, how do we express this understanding through a

Topics in Ceramic History: Global Perspectives — CER2148.01

Instructor: Anina Major
Credits: 4
The study of ceramics is the study of human history in all of its cultural diversity, from artisanal pottery to highly sophisticated modern product design or contemporary sculpture. This course will explore ancient, indigenous and historical ceramics with lectures and discussions around clay materials, technology, art, and culinary traditions.

Topics In Video: Experimental Documentary — FV4236.01

Instructor: Kate Purdie
Credits: 4
This course explores documentary possibilities through screenings and video projects. The class will look at and consider non-fiction techniques from early cinema verite films to recent attempts to address point of view and outsider status in documentary and experimental video work. In collaborative and individual projects, the class will take a hands-on approach to documentary

Toward a Rigorous Art History — AH2109.01

Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance

Toward a Rigorous Art History — AH2109.01

Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance

Toward a Rigorous Art History — AH2109.01

Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance

Toward a Rigorous Art History — AH2109.01

Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance

Toward a Rigorous Art History — AH2109.01

Instructor: J. Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance

Toward a Rigorous Art History — AH2109.01

Instructor: Vanessa Lyon
Days & Time: TU,FR 10:30am-12:20pm
Credits: 4

A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.”

Striking

Toward a Rigorous Art History — AH2109.01

Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance

Toward a Rigorous Art History — AH2109.01

Instructor: Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance

Toward a Rigorous Art History — AH2109.01

Instructor: J. Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance

Toward a Rigorous Art History — AH2109.01

Instructor: J Vanessa Lyon
Credits: 4
A “rigorous study of art” became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor—the famous and foundational Heinrich Wölfflin—caused him to consider publishing an account of “the most disastrous activity I have ever encountered at a German university.” Striking a balance

Traces, Mistakes, and Leftovers — Canceled

Instructor: Mary Lum
Credits: 4
The role of drawing has changed over the history of art, from primitive recording to preliminary sketch, to documentation, to works that function independently. How can we expand these categories to include the remnants of the making process. Can the research done before a project, the many mistakes made in process, or the discards left after completion of an artwork be

Traces, Mistakes, and Leftovers — DRW4237.01

Instructor: Mary Lum
Credits: 2
The role of drawing has changed over the history of art, from primitive recording to preliminary sketch, from documentation to works that function independently. How can we expand these notions to include the remnants of the making process. Can the research done before a project, the many mistakes made in process, or the discards left after completion of an artwork be

Tracing a Wound: In Usdan Gallery with artist Emilio Rojas — VA4317.01

Instructor: Anne Thompson
Credits: 1
In his practice, multimedia artist Emilio Rojas embodies a series of encounters—or tracings—through the intersecting bio-politics of pandemic, systemic racism, border closures in tandem with the rise of nativist rhetoric, and disproportionate vulnerabilities for BIPOC communities. This course extends from Rojas’s exhibition in Usdan Gallery, "tracing a w̶o̶u̶n̶d̶ through my

Transformation — ARC4310.01

Instructor: Don Sherefkin
Credits: 4
This studio will will focus on the development two projects; the first emphasizing the contextual approach of architectural design, developing and transforming spatial patterns found in a given environment through documentation and analysis. The second project will be concerned with transformational processes in the design of buildings based on given functional elements.