Global Arc

This course will approach questions of gender, sexuality, and power in popular media, from early cinema's appeals to middle-class female audiences at the turn of the last century, to the contemporary use of social media by feminist activists of color. Gender, sexuality, and identity will be viewed at the intersections of other biological and social categories, including race, class, orientation, ability, and ethnicity. We will examine the ways in which different media forms can be used to complicate, reinforce, exploit, or challenge those hierarchies.

This course investigates painting as a medium in the widest possible sense; as pictorial representation, assemblage, concrete color, spatial intervention; installation, performance and multimedia. Students will look at an array of objects, practices, and techniques that challenge conventional definitions of painting throughout, an underlying question of "what counts" as painting will be examined. However, this class is neither a historical narrative nor a deductive reasoning of what painting is or might mean. Rather, these questions will evolve through the studio processes of experimentation, contemplation and making.

How can posthumous research on a curatorial subject influence the structure and form of an exhibition or a new conceptual artwork? This course retraces the steps taken to produce McClodden's 2015-2019 artistic and curatorial work centering the lives of three Black gay men - poet Essex Hemphill, writer/poet Brad Johnson, and composer Julius Eastman - in order to examine key concepts central to research-based practice. Students will be expected to produce a research/exhibition study of an artist whom they feel has been obscured posthumously.

A required seminar for art and archaeology Program 2 majors and visual arts certificate students emphasizing contemporary art practices and ideas. The course addresses current issues in painting, drawing, sculpture, film, video, and photography, with an emphasis on developing a studio practice. Critiques of students' work, and excursions to artists' studio round out the course. One three-hour seminar.

A studio course in which students are encouraged to develop an independent direction while being challenged with projects on issues such as: narrative, abstraction, conceptual strategies, collage, computer-aided drawing, and drawing-based installation. Sources include photography, drawing from life, and utilizing one's own imagination. Study of developments in contemporary drawing will parallel the course projects. Prerequisites: 201, 202, and instructor's permission. Two three-hour classes.

A studio course focused on advanced problems in painting practice, including pictorial structure in abstraction and representation, color in relationship to space and light, working process, and materials. This course, although structured, encourages development of independent work. Group critiques will be conducted. Students gain awareness of historical models as well as contemporary art, as they build and analyze the relationship between student work and contemporary painting culture. Two studio sessions-five hours a week. Prerequisites: 303 or 304 and instructor's permission.

A studio course focused on advanced problems in painting practice, including pictorial structure in abstraction and representation, color in relationship to space and light, working process, and materials. This course, although structured, encourages development of independent work. Group critiques will be conducted. Students gain awareness of historical models as well as contemporary art, as they build and analyze the relationship between student work and contemporary painting culture. One four-hour studio class. Prerequisites: 303 or 304 and instructor's permission.

Drawing is a distinct process; it can also serve as a mode of documentation or as a preparatory step in many other processes. This allows drawing to point to a past event, create a primary experience in the present, and/or to serve as a model or plan for what is to come. We will explore these multiple uses of drawing and their accompanying temporalities through approaches that emphasis a wide range of formal effects - illusionistic form, space, flatness, mark-making, opacity, transparency - while simultaneously exploring how artists have turned to drawing to record, index, propose, invent, and fantasize. One four-hour studio class.

Student-initiated problems in photography will be explored in close working relationship with the instructor. Emphasis will be on integrating practice and critical thought. One three-hour class, three hours of independent laboratory. Prerequisites: VIS 211 or VIS 212; and VIS 313 or VIS 315; or permission of instructor.

This studio course builds on the skills and concepts of VIS 215 Graphic Design. Advanced Graphic Design is structured around three studio assignments that connect graphic design to other bodies of scientific knowledge, aesthetic experience, and scholarship. Studio work is supplemented by critiques, readings and lectures. Motivated students will refine their approaches to information design and visual problem solving, as well as develop the critical acumen for decoding and producing graphic design in a variety of traditional and electronic media.