Visual Arts

“In the context of pattern, the elements of drawing take on an unexpected weight. Thicken a line here, flatten a curve, deepen the tone—it’s not simply a form that changes. The rhythm of the whole alters. The effect of variants in pattern, sometimes violent, is hard to describe in the usual formal terms. Our aesthetic vocabulary was built

In a Practical Introduction to Material Science, students will be exploring the science of glaze and clay chemistry. This course is designed to enable students with the confidence to understand material science and to overcome any trepidation they may feel about glaze and clay formulation. Beginning with developing an understanding of the major components

Sculpture and vessels are realized through an exchange between the medium and the self. The class will begin with the question:

What is Sculpture?

What is a Vessel?

Projects will push forward conceptual topics specific to sculpture and vessels including form and presence, the body, light and illusion upon form, the transformation of

This semester-length, 4-credit course, intended for students who will continue to the Advanced Projects in Film/Video II course in spring 2023, supports advanced students in planning, pre-production, and early production (or for 8th term students, post-production and finishing) for more complex, larger-scale, longer-duration, self-directed

This advanced level course is also an introduction to lithographic processes. Students will start by processing and printing images from limestone. We will end the semester by exploring the possibilities of making positive films to expose lithographic plates and color by overprinting. This studio class is structured around a number of projects, each one ending with a group

This course is for experienced student artists with a firm commitment to serious work in the studio. Students will work primarily on self-directed projects in an effort to refine individual concerns and subject matter. Students will present work regularly for critique in class as well as for individual studio meetings with the instructor.

There will be an emphasis

The course will be for sustained work on an animation or projection design project, and should be a space for both experimentation, ambition and consistent endeavor. The first half of the semester will be concerned with conceptualizing and framing the world of the animations or projections, by research, drawings, investigation, imagining. The second half will be creating the

The class will be concerned with animating inanimate objects by primarily stop motion.  Locations will be constructed, objects animated, and lighting explored in order to create the imaginary world. The worlds will be captured via Dragonframe® to create short animations, as well as creating stories by projections of

“One could even compare the function of Renaissance perspective with that of critical philosophy… The result was a translation of psychophysiological space into mathematical space; in other words, an objectification of the subjective.”

— Erwin Panofsky,

Traditional Chinese calligraphy is an ancient art form that uses brush and ink to write Chinese characters in a refined and expressive style. It embodies visual beauty and emotion, reflecting the writer’s personality, philosophy, and cultural sensibility.

This course is designed not only as an introduction to calligraphy, but also as a space for relaxation and stress

CNC Fabrication: Modeling and Milling with Rhino 8 is an intermediate course in Digital Fabrication focused on Computer Numerically Controlled (CNC) routing and the end-to-end workflow from digital model to fabricated object. This course will cover 3D modeling in Rhino 8 with an emphasis on designing for sheet material, including joinery, nesting, and

This course is a deep dive into color theory through rigorous hands-on practice. In the first half of the term students will develop an awareness and understanding of color’s perceptual, sensory, and material properties through color investigations and exercises using specific materials such as gouache, pastels, and collage. In the second half of the term we will delve into

In conjunction with the clay vessel making class, CER 4206 Sculptural Equilibrium: Contemporary Context of Ikebana, this co-requisite section focuses on conceptual

 How do I begin? What's happening already…we are the studio.
This course is designed to bring together creative minds who feel the need to take the next steps into understanding how to create an idea three dimensionally. How do I take an abstract idea and begin to

This is an introductory course of basic mold making and slip casting techniques for producing components to create a series of functional ware. This course focuses on the development of design concepts through exploration of slip casting methods, application of alteration and assemblage techniques and experimentation of prototype

This lab class is structured for students who are registered for CER 2208: CUPS: Slip Casting and Mold Making to achieve production goals. The two-hour mandatory lab will be guided by the faculty so that students can receive technical guidance and adequate support to establish their studio production practices and expand their

This lab class is structured for students who have completed CER2208 CUPS: Slip Casting and Mold Making (or equivalent introductory mold making and slip casting courses) to achieve independent production goals to create a series of ceramic functional ware (cups). The two-hour weekly lab will be guided by the faculty so that students

The raucous and repressive but also radical and recalcitrantly white supremacist period c. 1918-1941 has many names. In the U.S. this generation-long span between the two World Wars encompasses or overlaps, e.g. The Harlem Renaissance, The Jazz Age, The Depression, Prohibition, The Dust Bowl, The Progressive Era, and Jim Crow. In this visual studies course, we’ll investigate

Learning to draw is as much about learning how to use your hand as it is learning how to see. The focus of this course is learning to draw from observation and developing close looking skills; to that end this course will expand your capacity to see and represent what you see by inviting you to explore an array of methods, materials, and techniques. 

Drawing

Where might automation fit into an art practice? How might we choose to orient ourselves and our work to technology that is (usually) developed with mass production in mind? How do we reconcile the desire for novelty, experimentation, and accidents as we depend on machines and softwares that require our participation in pre-determined, often rigid, ways?<

In this course, students will work in Adobe Illustrator on text and layout specific projects. Starting with the foundations of Illustrator, the course will progress to basic and advanced functions of the typographic interface. The use of artboards and layer management, pen tools and path-finders, text and type formatting, color management,

Shying away from the static, resolved, or finished image, this course will explore drawing as a process of ongoing inquiry. It is intended to foster an experimental and experiential approach to making art, generally eschewing personal expression in favor of developing an open-minded approach. Students will engage with various

Are you interested in taking a closer look at the  immediate and collective spaces that we live in? What are some of the realities that exist around us and why/ how can we build work that pushes against these basic constructs.

This

In this one-credit film course, students will watch 5 out of the 10 international films screened in Kinoteca and Tishman on Saturday September 12, between 6pm and 6am. The films, all selected for their thought-provoking nature, cover a variety of cinematographic genres. The event is designed to enhance filmic appreciation in a collective

This course introduces a variety of materials, techniques and approaches to working with oil paint. Emphasis is placed on developing and understanding of color, form and space as well as individual research and conceptual concerns. The daily experience of seeing, along with examples from art history and contemporary art, provide a base from which investigations are made.