Bulletin 2021-22 Graduate School of Art (09/09/21)

Graduate School of F10 ART 542 Graduate Studio Graduate studio work emphasizes individual development through a mix of independent study and activities structured Art around shared student and faculty interests. The direction of student artwork is determined through consultation with Email: [email protected] faculty, and faculty act as guides to realize objectives set by the student. Faculty provide critical commentary through ongoing Website: https://samfoxschool.wustl.edu/ dialogue with students and facilitate dialogue expanded by group academics/college-of-art critiques, contact with visiting artists, and museum and gallery trips. Graduate students are encouraged to explore traditional Courses and experimental approaches to art making. Credit 10 units. EN: H • F10 Art: Art foundation and major studio courses • F20 Art: Art elective courses F10 ART 542A Graduate Studio Graduate studio work emphasizes individual development through a mix of independent study and activities structured F10 Art around shared student and faculty interests. The direction of student artwork is determined through consultation with Visit online course listings to view semester offerings for faculty, and faculty act as guides to realize objectives set by the F10 ART (https://courses.wustl.edu/CourseInfo.aspx? student. Faculty provide critical commentary through ongoing sch=F&dept=F10&crslvl=5:6). dialogue with students and facilitate dialogue expanded by group critiques, contact with visiting artists, and museum and gallery trips. Graduate students are encouraged to explore traditional F10 ART 541 Graduate Studio and experimental approaches to art making. Graduate studio work emphasizes individual development Credit 9 units. EN: H through a mix of independent study and activities structured around shared student and faculty interests. The direction F10 ART 543B Group Critique of student artwork is determined through consultation with The foundation of the MFA-VA experience is the production faculty, and faculty act as guides to realize objectives set by the of artwork in the context of dialogue and critique within a student. Faculty provide critical commentary through ongoing community of peers. Group Critique generates a dynamic dialogue with students and facilitate dialogue expanded by group forum for multiple voices to merge into conversation. This critiques, contact with visiting artists, and museum and gallery course develops a student's ability to assess, contextualize, and trips. Graduate students are encouraged to explore traditional discuss artworks at a professional level. It provides a space for and experimental approaches to art making. debate, questioning, agreement, disagreement, inspiration, and Credit 10 units. EN: H discovery. During class sessions, first- and second-year MFA- VA students participate in mixed groups, engaging in rigorous F10 ART 541A Graduate Studio peer review of finished work. Group members are encouraged Graduate studio work emphasizes individual development to develop philosophical or cultural positions as they consider through a mix of independent study and activities structured their own work and that of their peers. Faculty support this effort around shared student and faculty interests. The direction by offering methods for catalyzing further discussions. Input in of student artwork is determined through consultation with critiques may be augmented by visiting artists and curators, who, faculty, and faculty act as guides to realize objectives set by the in concert with MFA-VA faculty, introduce an array of critique student. Faculty provide critical commentary through ongoing methodologies. dialogue with students and facilitate dialogue expanded by group Credit 4 units. critiques, contact with visiting artists, and museum and gallery trips. Graduate students are encouraged to explore traditional F10 ART 553 A Context for Artmaking and experimental approaches to art making. This seminar provides various historical and critical contexts Credit 9 units. in which to place contemporary creative work. Discussions will focus on the aesthetic, social, political, and economic F10 ART 541B Graduate Studio implications of creative production and reveal the intentions and Graduate Studio acts as a conduit between the forming of strategies artists employ in their work. artistic intention and the work that is made; it is the when and Credit 3 units. EN: H the where of an artist's immersion in the process of research and making. Graduate Studio requires the very highest level of F10 ART 553A First-Year Colloquium focus and productivity. The deeper the investigation of ideas and This seminar serves as a primer for graduate study in materials, the more productive the artistic outcome. Credit units contemporary art. It introduces MFA in Visual Art students to in Graduate Studio form a core component of the MFA program one another; to the MFA-VA program, the Sam Fox School, the in which students accomplish their creative work, guided by their Kemper Art Museum, and the university; and to the city of St. faculty mentor and other faculty within the program and beyond, Louis. Through weekly meetings that include guest lectures, as well as by visiting artists and critics who conduct studio visits readings, discussions, and short writing assignments, the and individual critiques. course acts as a platform for critically engaging with a wide Credit 4 units. range of artistic practices and their role in contemporary culture. These activities support students in identifying their particular

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interests and evolving artistic positions in relation to their studio Credit 3 units. practice. The course includes field trips and introductions to local institutions, and it builds pathways for crossdisciplinary work. Each year, the current recipient of the Henry L. and Natalie E. F10 ART 572 Literatures of Drawing Freund Teaching Fellowship teaches a portion of the seminar. This theoretically oriented seminar course covers drawing, Credit 3 units. printing, and cultural form, focusing on ideologies of illustration and cartooning as well as problems of visual representation, broadly speaking. Complementary focus will be placed on F10 ART 554 A Context for Artmaking the portrayals of illustrators and cartoonists in literature and Continuation of F10 553. This course provides graduate students film to explore the complicated cultural status of the people with a historical and critical context in which to place their work. who produce such work. Students will produce critical and Among other topics, discussions will focus on "definitions" of art, argumentative writing and conduct research in the D.B. Dowd on the political implications of art production and criticism, and Modern Graphic History Library collections. on the position of the artist in relation to cultural and economic Credit 3 units. powers. Preparation and participation in the meetings will be crucial to the success of this seminar as conversations will always ask how the student's own work relates to the larger F10 ART 573 Special Collections: Practice & Purpose history of contemporary art. The two essays that constitute This course is an introduction to the theoretical foundations, the writing requirements for the course — one due at midterm practice, and profession of special collections and archives, and another written within the exam period at the end of the with a focus on the diverse holdings of Washington University semester — will synthesize readings, discussions and students' Libraries' Special Collections, including the D.B. Dowd Modern own research in answering the same question. The seminar Graphic History Library. Course topics will include the core meets throughout the academic year, and the syllabus will concepts and values related to the access, design, curation, remain flexible to allow for meetings with visiting artists and preservation, and stewardship of visual materials. Through members of the faculty of the Graduate School of Art. Part 2 discussions and hands-on activities, students will explore the of 2. Prerequisites: first-year MFA student standing; F10 553. processing, cataloging, and digitization of visual materials, Graduate School of Art majors only. offering them an opportunity to put theory into practice in special Credit 3 units. EN: H collections and archives. Credit 3 units. F10 ART 561 Illustration Studio 1: Drawing and Voice This course provides a thorough exploration of drawing for F10 ART 574 Special Collections: Exhibition & Engagement communicative purposes, stretching from ideation to storytelling This course focuses on the development, planning and mounting to authorship of text and image. Students will create single of exhibitions, which serve as a critical form of scholarly images and sequences, explore reproduction and multiplicity, engagement and a vehicle for collection engagement in special and develop a sketchbook practice. In the process, students collections practice. Students will learn underlying theories that will develop a set of visual questions and thematic concerns. guide exhibition creation, and they will have the opportunity Working through projects designed for print and screen, to apply those theories through the curation and design of an illustrators will begin to define a distinctive voice to express their exhibition of materials from the D.B. Dowd Modern Graphic chosen content, including words, images, audio, and typography History Library. The course will also explore additional WashU or lettering. Libraries' Special Collections visual holdings, such as the moving Credit 6 units. image and numismatics, through guest lectures and workshops. Credit 3 units. F10 ART 562 Illustration Studio II: Artist, Author, Audience This course explores the format of the self-generated publication: F10 ART 576 Comics and Cartooning: A Critical Survey zines, mini-comics and short visual essays. Expanding upon the This survey course addresses the language and history of content discovered in the first semester studio, illustrators will comics, beginning with the tradition of charicature in Europe and create a variety of short works to be mass produced for public America; the emergence of proto-comics in the mid-19th century; readership for both the screen and in print. Projects may range early Sunday comic supplements beginning in the 1890s and the from animated sketches to formal visual essays. Research on explosion of the comic strip as a popular form between 1900 and audience and viewer experience will be a critical focus. 1935; the advent of the comic book as an advertising premium Credit 6 units. and its development through the imposition of the comics code in 1954; and the development of underground comix and the emergence of the graphic novel. F10 ART 571 The Illustrated Periodical Credit 3 units. This course engages the cultural phenomenon of illustrated papers and magazines, primarily in the United States, in the 19th and 20th centuries. We will study the publishing enterprise as an F10 ART 641 Graduate Studio early form of translocal community formation that anticipated the Graduate studio work emphasizes individual development online culture of today. Course content will include the advent through a mix of independent study and activities structured of industrial image production; modern reading and looking; around shared student and faculty interests. The direction the rivalry of illustration and photography; advertising; race and of student artwork is determined through consultation with gender in the production and reception of commercial images; faculty, and faculty act as guides to realize objectives set by the and the contingent status of illustration and its associated student. Faculty provide critical commentary through ongoing alienation from high visual culture. Canonical illustrators, dialogue with students and facilitate dialogue expanded by group cartoonists, projects, and texts will be included through a critiques, contact with visiting artists, and museum and gallery combination of lecture and discussion.

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trips. Graduate students are encouraged to explore traditional criticism and art historical writing. Each candidate creates their and experimental approaches to art making. Prerequisite: own personal research archive and explores how writing can second-year MFA student standing. Graduate School of Art expand and advance their practice. Third, this seminar prepares majors only. students to develop their thesis plan, a map of their final MFA-VA Credit 12 units. EN: H creative work, and their thesis text. Credit 3 units. F10 ART 642 Graduate Studio Graduate studio work emphasizes individual development F10 ART 675 Readings in Visual and Material Culture through a mix of independent study and activities structured "No ideas but in things." Taking as a point of departure this around shared student and faculty interests. The direction famous line from a William Carlos Williams poem, which is of student artwork is determined through consultation with often said to express the poet's commitment to a creative faculty, and faculty act as guides to realize objectives set by the practice rooted in tangible things (as opposed to abstractions, student. Faculty provide critical commentary through ongoing formalism, a given subject matter or politics, and so on), this dialogue with students and facilitate dialogue expanded by group course explores the idea-thing relationship as it has come to be critiques, contact with visiting artists, and museum and gallery understood during the past century. Studying influential theories trips. Graduate students are encouraged to explore traditional of visual and material culture, this course will engage historical, and experimental approaches to art making. Prerequisite: theoretical, and creative texts by Marx, Baudrillard, Bourdieu, second-year MFA student standing. Graduate School of Art Sontag, and others alongside concrete visual and material majors only. objects. Students will produce responsive writing and conduct Credit 12 units. EN: H individual research. Credit 3 units. F10 ART 660 Thesis Credit 3 units. EN: H F20 Art F10 ART 661 Illustration & Visual Culture Thesis Studio I Visit online course listings to view semester offerings for This advanced course focuses on defining a professional F20 ART (https://courses.wustl.edu/CourseInfo.aspx? orientation in the practice, criticism, and curation of illustration sch=F&dept=F20&crslvl=5:6). and cartooning today, focusing on the studio and the archive as zones of investigation and achievement. The course work isolates issues of creative approach, production, distribution, F20 ART 501A Drawing: Art Practice (Conceptual Methods in and market position to define and test a major project concept. Drawing) Projects may include picture books, zines, games, animated projects, comics, and other forms of published matter. Students Same as F20 601A - First-year MFAs (only) register for F20 will define research questions and establish an editorial 501A. Drawing is a communicative device; it is a primary means orientation for critical engagement with visual culture. Project of conceptual strategy leading to effective visual exploration definition and early work will carry forward into the work of and expression, from thought to form. This studio course Illustration & Visual Culture Thesis Studio II. looks at the practice of drawing in the context of language, scientific paradigms, complementary and alternative art forms, Credit 9 units. socio-political theory and history as they relate to visual culture and invention. Lectures, critical readings, and analysis F10 ART 662 Illustration & Visual Culture Thesis Studio II of historical and contemporary modes of drawing support Students will build on the project definition established in Thesis students in their course work. Projects in this course may Studio I to take the project to completion. Projects will be consider mapping, language systems, formulaic constructions, shaped and critiqued through meetings with faculty advisors material essentialism, physiologic/kinesthetic approaches, and and dialogue with peers. This course culminates in the public performative aspects of drawing. presentation of student projects. Credit 3 units. EN: H Credit 9 units. F20 ART 501E Anatomy Figure Structure F10 ART 663 Research For Practice This rigorous drawing course explores traditional and new What does it mean to conduct research in the often- representations of the figure through the study of its structure indescribable process of art making? This seminar examines and contemporary contexts. Research involves basic anatomy the question in three key ways. First, through presentations, lectures and sketchbook activities that provide a vehicle for discussions, case studies, and readings, it explores a diverse discovering the figure's architecture, mechanics and proportions. array of artistic strategies and methodologies artists use to Art production is based on in-class and outside projects. engage with content, including collaborative practices, archival Lectures, presentations, critical readings and the analysis of research, working with data, and processes influenced by historical and contemporary figurative works support students non-art fields. Students will consider ways in which their in their investigations. Prerequisites: Drawing (F10 101A or F10 artistic practices constitute and create research and how these 102A). processes condition and inform their artistic voice. Second, this Same as F20 ART 301E seminar builds tools for presenting a distinct voice on behalf of Credit variable, maximum 3 units. Art: FAAM one's work. Specifically, the student is introduced to the way other contemporary practitioners write and talk about their own work -- through published books, chapters, interviews, online materials, and more -- and how this writing differs from both

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F20 ART 502 Drawing the Struggle for Racial Justice" [working title]. It may count An advanced drawing course for third- and fourth-year toward the minor in Creative Practice for Social Change if students. Individualized instruction allows students to explore bundled with "You Are Here: St. Louis' Racial History Through various media and stylistic approaches in both figurative and Sites and Stories." nonfigurative modes. Same as F20 ART 308B Same as F20 ART 302 Credit 1.5 units. Art: CPSC Credit 3 units. Art: FAAM EN: H F20 ART 509B Eco-Art F20 ART 502B Drawing: Art Practice (Conceptual Methods in Eco-Art explores the intersection of art, ecology and ethics. Drawing) Though the movement is broad and growing, eco-art re- Drawing is a communicative device; it is a primary means envisions our relationship with the natural world by informing, of conceptual strategy leading to effective visual exploration challenging, inventing, and reclaiming. This studio-based course and expression, from thought to form. This studio course introduces various artistic practices and working methodologies looks at the practice of drawing in the context of language, related to environmental art, exploring "green" methodologies, scientific paradigms, complementary and alternative art forms, repurposed objects, land art, ecoventions, social sculpture, socio-political theory and history as they relate to visual and community activism. The course is organized around art culture and invention. Lectures, critical readings, and analysis historical precedents, and it is supported by critical essays of historical and contemporary modes of drawing support and examples of contemporary practice, including discussion students in their course work. Projects in this course may of eco-design and sustainable architecture. Projects are open to consider mapping, language systems, formulaic constructions, multidimensional solutions in a wide variety of media. material essentialism, physiologic/kinesthetic approaches, and Same as F20 ART 309B performative aspects of drawing. Credit 3 units. Art: CPSC Same as F10 ART 302B Credit 3 units. Art: CDES, FAAM F20 ART 511D Painting: Art Practice (Special Topics: Narrative Systems: The Frame, The Grid, The Screen) F20 ART 502D Drawing: Art Practice (Collage: History and Same as F20 611D - First-year MFAs (only) register for Practice in Contemporary Art) F20 511D. This studio course focuses on various narrative Same as F20 602D - First-year MFAs (only) register for strategies in relation to painting's mythology and its function F20 502D. This course will examine the role of collage in in contemporary culture. Topics to include narrativity, the contemporary studio practice. Students will be required to politics of lens and screen, invented fictions, social vs. virtual assemble an archive of images from various sources, found spaces, and site specificity. Instruction will encompass technical, and self-generated, to produce a body of work based on a conceptual and creative skills for taking an individually conceived specific theme. Readings and discussion related to the course project from idea to fruition. Students will be encouraged to will examine the evolution of collage and its present status and consider traditional and alternative forms of painting as well as application within contemporary studio practice. digital imaging, installation, net art, and so on. Lectures, critical essays, and analysis of historical precedents and contemporary Credit 3 units. Art: FAAM EN: H practitioners will support students in their course work. Credit 3 units. EN: H F20 ART 503B Collage: History & Practice in Contemporary Art F20 ART 511F Painting: Art Practice (Language of This course examines the role of collage in contemporary studio Abstraction) practice. Students are required to assemble an archive of images from various sources, both found and self-generated, to This course examines strategies of abstraction and non- produce work based on specific themes. This course integrates objective image making that originate in the painting studio, collage practice with other visual disciplines. Readings and including those that are driven by concept, material, space, and discussion related to the course examine the evolution of collage process. Readings and discussions will examine the evolution and its present status and application within contemporary art and history of abstraction and its present applications within a production. contemporary studio practice. The course will engage students Same as F20 ART 303B in both assigned and self-directed work that will enable them to experiment with a broad visual vocabulary while understanding Credit 3 units. the relationship between form and content. Same as F10 ART 311F F20 ART 508B Engaging Community: Understanding the Credit 3 units. Art: CDES, FAAM Basics What does it mean to engage in community as a creative F20 ART 511G Painting: Art Practice (Place and Space) practitioner? Community engagement must be grounded in Same as F20 611G - First-year MFAs (only) register for F20 authentic relationship building and an ability to understand 511G. This course examines ideas of place and space-both and act within the historic context and systems that impact observed and invented-established through the surface and communities. We will practice the skills of listening, observation, materiality of paintings. Students develop a unique body of work reflection, and improvisation. We will cultivate mindsets that through shared exploration of painting processes and materials, focus on community assets and self-determination. Workshops along with independent research. Critical assessment of work is will teach facilitation and power analysis, with the intention of complemented by faculty and peer discussions, readings, written upending the power dynamics between community and creators. critical analysis and field study. This course pairs with "Engaging St. Louis: Sites, Stories, and Credit 3 units.

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F20 ART 512F Painting: Art Practice (Language of F20 ART 511J Painting: Art Practice (Figure Structure) Abstraction) This rigorous painting/drawing course explores new Same as F20 612F. First-year MFAs (only) register for F20 representations of the figure through its structure and 512F. This course examines strategies of abstraction and non- contemporary contexts. Initial research involves anatomy objective image-making that originate in the painting studio, lectures and extensive sketchbook activities that provide a including those that are driven by concept, material, space and/ vehicle for discovering the figure's architecture, mechanics or process. Readings and discussion will examine the evolution and proportions. Students develop an independent body of and history of abstraction and its present applications within a work accessing visual data from a variety of sources (paintings, contemporary studio practice. The course will engage students photography, sculpture, memory, model sessions), with the in both assigned and self-directed work that will enable them to goal of developing expressive qualities with image-making. experiment with a broad visual vocabulary while understanding Lectures, presentations, critical readings, and the analysis of the relationship between form and content. historical and contemporary figurative works support students Credit 3 units. Art: FAAM in their investigations. Required for the BFA in Art painting concentration. Prerequisite: Painting Studio: Material and Culture. Open to BFA and BA students who have taken the F20 ART 512G Painting: Art Practice (Body Image) prerequisite and others, including art minors and MFA students, Same as F20 612G - First-year MFAs (only) register for with permission of the instructor. F20 512G. This is a rigorous painting/drawing studio course Same as F10 ART 311J investigating various methods of pictorial construction (historical, Credit 3 units. contemporary) and the role of figuration in contemporary art practice. Students will be required to produce an independent body of work based on a theme and generated from a variety F20 ART 511T The Poetics of Image-Making: People, Place & of references (imagination, life, photography, painting, film, Space etc.). Discussions to include contemporary notions of identity This painting elective course examines the poetics of image- structures, social and gender politics. Lectures, critical readings making, with a focus on the representation of people, place, and the analysis of historical and contemporary modes of figural and space, both observed and invented. Students learn the representation will support students in their investigations. practice of painting and develop works through fundamental Credit 3 units. exercises as well as through the shared exploration of painting processes. Work outside of class for the beginner is project- F20 ART 512H Painting: Art Practice (Place and Space) based; advanced students produce an independent body of This course examines ideas of place and space -- both observed work. Critical assessment of work is complemented by faculty and invented -- established through the surface and materiality and peer discussions, readings, and field study. Required text: of paintings. Students develop a unique body of work through "The Poetics of Space" by Gaston Bachelard. shared exploration of painting processes and materials, along Credit 3 units. with independent research. Critical assessment of work is complemented by faculty and peer discussions, readings, written F20 ART 511U The Language of Moving Images critical analysis and field study. This course will examine the language of moving images, Same as F10 ART 312H which includes -- among other elements -- shot construction, Credit 3 units. Art: CDES sequencing, duration, sound integration, scale, and situational contexts. Through screenings, readings, lectures, discussions F20 ART 512P Painting: The Painted Figure and critiques, students will develop the skills required to This studio course is an introduction to the practice of painting, interpret moving images and to think about their productions, with an emphasis on the pictorial representation of the human which may utilize forms other than video or film and include figure. Instruction will encompass a range of technical, installation components. This course is not focused on technical conceptual and creative skills to be used for developing approaches, and students' creative work will be driven by projects. In-class projects will include working from the live individual concerns and may be accompanied by written model. Students will be encouraged to consider traditional and analysis. Prerequisite: Digital Studio/Digital Design. alternative forms of painting. Lectures, critical essays, and Same as F20 ART 311U analysis of historical precedents and contemporary practitioners Credit 3 units. will support students in their course work. No prerequisites. Same as F20 ART 312P F20 ART 512E Painting: Art Practice (Place and Space) Credit 3 units. Art: FAAM Same as F20 612E. First-year MFAs (only) register for F20 512E. This course examines ideas of place and space — both F20 ART 513F Sculpture: Foundry observed and invented — established through the surface and Same as F20 613F - First-year MFAs (only) register for F20 materiality of paintings. Students develop a unique body of work 513F. The focus of this course is to introduce students to the through shared exploration of painting processes and materials, basic principles of bronze and aluminum casting according to the along with independent research. Critical assessment of work is lost wax method. Students will learn mold making, direct organic complemented by faculty and peer discussions, readings, written burnout, ceramic shell investment, metal chasing, and patination critical analysis and field study. Prerequisite: First-year MFA in order to create finished sculpture. In addition to metal casting, student standing. students will use other material such as plaster, resin, steel, Credit 3 units. EN: H wood, rubber, plastic and foam to create a mixed media project that explores a specific idea or theme. Additional work outside the regularly scheduled class time is required.

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Credit variable, maximum 6 units. F20 ART 513P Sculpture: Art Practice (Iterative Systems) This course investigates iterative approaches to making as a F20 ART 513H Sculpture: Blacksmithing means to generate multiple works and ideas simultaneously. Same as F20 113H, F20 213H, and F20 413H; juniors (only) Activities such as mold-making and nontraditional drawing will be register for F20 313H. This course is an introduction to explored along with other process-based methods of capturing blacksmithing materials, tools, and techniques. Students will thoughtful gestures. Through readings and discussions, students explore the fundamental techniques of hand-forged metal. Metal will engage with historical precedents and contemporary can be manipulated as a plastic material, and it offers enormous principles that support the creation of self-directed work informed possibilities for three-dimensional form. In this course, we will by the iterative mindset. Required for the BFA in Art sculpture explore these possibilities and expand our sculptural vocabulary. concentration. Prerequisite: Sculpture Studio: Material and Same as F20 ART 313H Culture. Open to BFA and BA students who have taken the prerequisite and others, including art minors and MFA students, Credit 3 units. Art: FAAM EN: H with the permission of the instructor. Same as F10 ART 313P F20 ART 513I Sculpture: Metal Fabrication Credit 3 units. Same as F20 113I, F20 213I, and F20 413F; juniors (only) register for F20 313I. Metal is the backbone of our modern world, F20 ART 513Q Compositions in Clay and it is a viable medium for self-expression. It can be employed as structure or as surface, it can be plastically deformed to In this course, students will broaden their understanding of clay create compound shapes, or it can be connected to most any as a viable medium of visual expression and three-dimensional other material. Students will explore the creative potential of this exploration. Students will learn basic hand-building techniques material in the fabrication of sculptural forms. Students learn to to create sculptural constructions, discover the practical weld using both gas and electric arc machines as well as the applications of wheel throwing through form and function, and safe operation of drilling, grinding and finishing tools. explore ceramic tools and equipment to create installation Same as F20 ART 313I projects. Each student's skill level will be considered, and projects will be adjusted accordingly. Emphasis will be placed Credit 3 units. Art: FAAM EN: H on critical assessment and articulation of material. Same as F20 ART 313Q F20 ART 513J Digital Fabrication for Object Making Credit 3 units. Art: FAAM This course explores the potential of digital tools in the creation of tangible objects. We will focus on "component manufacture" F20 ART 5143 Matter in Hand Workshop as a means of sculptural production, i.e., creating linkages, universal fittings, and adaptors that connect disparate materials. Same as F20 6143 - First-year MFAs (only) register for F20 Toys, mechanical systems, and construction products will be 5143. All materials and processes carry meaning, so the researched as a point of inspiration. Students will be introduced choice of one material over another has an enormous impact to various modeling software such as Rhino, AutoCAD, and on the celerity, power and resonance of your work of art. For SolidWorks and explore the potential of these platforms to example, the record of the evolution of human consciousness design 3-dimensional forms. A variety of output tools will be used is forever embedded in the artworks and text designed, made but we will focus primarily on the planning for and use of laser and preserved in clay and paper. This course explores how cutters, 3D printers, and CNC routers. We will develop, design, the work of the hand informs the work of the brain and how, and manufacture components that, when combined with readily together, these activities find meaning in the mind. Through available materials, can be used to create sculptural forms. This these and other processes and materials such as welded metal class will use iterative processes that move between digital and and cast glass, students will investigate how working with a analog model-making and sketching. Students will be introduced particular material influences their concepts and resonates in to the concept of kitbashing, and the modification of salvaged the art they create. This 11-week course will investigate primary and found parts. This course introduces these concepts to materials (clay, glass, concrete, paper, metal) and processes artists, designers, engineers, and anyone interested in exploring of art making. We will explore the manipulation of these to find the possibilities of digital fabrication tools towards the creation of meaning at this point in our evolution. Emphasis will be placed sculpture. No prerequisites. on individual student's investigation and experimentation. Each Same as F20 ART 313J student will investigate these materials conceptually, physically and emotionally in relationship to their own studio practice. Credit 3 units. Art: FAAM Credit 1.5 units.

F20 ART 513M Sculpture: Art Practice (Sculptural Bodies) F20 ART 5144 Matter in Hand Workshop This course investigates the sociopolitical issues of the body, the figure, and their potential in contemporary art practice. The Same as F20 6144. First-year MFAs (only) register for F20 term "body" is used as an organism, in an expansive way, to 5144. All materials and processes carry meaning, so the investigate the metaphorical, physical, emotional, cultural, and choice of one material over another has an enormous impact spiritual bodies. A variety of media and methods are explored, on the celerity, power and resonance of your work of art. For with an emphasis on three-dimensional work and object- example, the record of the evolution of human consciousness based performance. Lectures, demonstrations, and readings is forever embedded in the artworks and text designed, made contextualize the potential of sculptural systems to constitute the and preserved in clay and paper. This course explores how meaning of a contemporary body. the work of the hand informs the work of the brain and how, Same as F10 ART 313M together, these activities find meaning in the mind. Through these and other processes and materials such as welded metal Credit 3 units. Art: CDES, FAAM and cast glass, students will investigate how working with a particular material influences their concepts and resonates in

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the art they create. This 11-week course will investigate primary F20 ART 514K Sculpture: Art Practice (Symbiosis) materials (clay, glass, concrete, paper, metal) and processes Same as F20 614K. First-year MFAs (only) register for F20 of art making. We will explore the manipulation of these to find 514K. This course explores numerous scenarios that create meaning at this point in our evolution. Emphasis will be placed different levels of sculptural interactivity from low to high tech. on individual student's investigation and experimentation. Each Students construct devices ranging from simple mechanisms to student will investigate these materials conceptually, physically large-scale installations fostering physical, analogue or digital and emotionally in relationship to their own studio practice. interaction between the viewer and the sculptural environment. Credit 1.5 units. Viewer-activated systems create multiple interactive platforms, initiating a responsive relationship between the sculpture and F20 ART 514F Sculpture: Foundry the viewer. Lectures, demonstrations and readings devise a Same as F20 114F, 214F, 414F - Sophomores (only) register for broad understanding of the histories and potentials of symbiotic F20 114F. The focus of this course is to introduce students to the relationships between a work of art and its audience. basic principles of bronze and aluminum casting according to the Credit 3 units. Art: FAAM EN: H lost wax method. Students will learn mold making, direct organic burnout, ceramic shell investment, metal chasing, and patination F20 ART 514N Sculpture: Art Practice (Itinerant Artworks) in order to create finished sculpture. In addition to metal casting, Who said you can't take it with you? Itinerant Artworks is a students will use other materials such as plaster, resin, steel, course in which students create work in any medium that is wood, rubber, plastic, and foam to create a mixed media project built for travel (not speed) and that can be set up, knocked that explores a specific idea or theme. Additional work outside down, or installed in a variety of locations at a moment's notice. the regularly scheduled class time is required. Students will document their work at a range of sites throughout Same as F20 ART 314F St Louis. For the final project, the class will stage an "off the grid" Credit 3 units. Art: FAAM EN: H outdoor exhibition in Forest Park. Typically, artworks are either site-specific or are agnostic to their placement and location. F20 ART 514H Sculpture: Blacksmithing Itinerant Artworks proposes a third model, where an artwork Same as F20 114H, F20 214H, and F20 413H; juniors (only) can be mobile, responsive, and highly adaptable to various register for F20 314H. This course is an introduction to environments or sites. Itinerant Artworks is intended to be a blacksmithing materials, tools, and techniques. Students will response to the current condition for making and viewing art. explore the fundamental techniques of hand-forged metal. Metal Despite the unpredictable and ever-changing circumstances of can be manipulated as a plastic material, and it offers enormous this moment, you can take it with you. possibilities for three-dimensional form. In this course, we will Same as F10 ART 314N explore these possibilities and expand our sculptural vocabulary. Credit 3 units. Same as F20 ART 314H Credit 3 units. Art: FAAM EN: H F20 ART 515B Printmaking: Art Practice (Propaganda to Decoration) F20 ART 514I Sculpture: Metal Fabrication This course uses the print multiple as a starting point to Same as F20 114I, F20 214I, and F20 413I - Juniors (only) explore a continuum that runs from propaganda to decoration. register for F20 314I. Metal is the backbone of our modern world, The fundamental attributes of the multiple, including its and it is a viable medium for self-expression. It can be employed accessibility and repeatability, arc from private to public and as structure or as surface, it can be plastically deformed to from political to aesthetic. Reproduction, distribution, urban create compound shapes, or it can be connected to most any communication, social space, intervention, and site specificity other material. Students will explore the creative potential of this are explored through course lectures, readings, and discussions. material in the fabrication of sculptural forms. Students learn to Collaboration, exchange, and relational practices provide weld using both gas and electric arc machines as well as the frameworks for self-directed projects using traditional and safe operation of drilling, grinding, and finishing tools. alternative techniques in print media, including lithography, Same as F20 ART 314I screen printing, stencils, and photocopy. This course is required Credit 3 units. Art: FAAM EN: H for the BFA in Art Printmaking Concentration. Prerequisite: Printmaking Studio: Material and Culture. The course is open to BFA and BA students who have taken the prerequisite as well as F20 ART 514J Sculpture: Art Practice (Material as Metaphor) to others, including minors and MFA students, with the consent All materials carry meaning. This course familiarizes students of the instructor. with the histories and fabrication processes intrinsic to Same as F10 ART 315B sculpture. This course uses demonstrations and hands-on Credit 3 units. Art: FAAM EN: H experiences -- primarily but not exclusively with metal and woodworking processes -- to show how such materials inform a studio practice. Lectures and techniques contextualize an F20 ART 515F Printmaking: Call and Response understanding of preformed and found materials as formal and In music, a call and response is a succession of two distinct conceptual components resulting in the final work of art. In phrases usually written in different parts of the music, where a critical environment, students formulate their own material the second phrase is heard as a direct commentary on or in language and defend their art practice and creative decisions. response to the first. Printmaking: Call and Response is a Same as F10 ART 314J survey of printmaking with a foundation in traditional, historical, Credit 3 units. Art: CDES, FAAM EN: H and philosophical aspects of printmaking. It will cover basic processes in intaglio, lithography, relief, and monotype. Students are encouraged to work in response to the history of the print, with an emphasis on mixed media and experimentation. This class counts for the minor in art.

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Credit 3 units. own. Rigorous student project critiques are complemented with discussions, writing assignments, and readings on media theory and contemporary uses of photography outside of the traditional F20 ART 515H Printmaking: Art Practice (Feedback Loop: exhibition-based contexts. Process and Print) Credit 3 units. EN: H Same as F20 615H - First-year MFAs (only) register for F20 515H. This course focuses on variability, mutability, repeatability and play within the process of printmaking, using etching, F20 ART 517L Photography: Art Practice (Constellations, collagraph, monotype and digital methods. The course explores Sequences, Series) practices and contexts in printmaking as a contemporary art form Same as F20 617L - First-year MFAs (only) register for and promotes advanced conceptual and technical development F20 517L. Series are the prevalent method for exhibiting through creative practice, readings, discussions and critiques. photographic images. Through assignment-based and self- Projects are self-directed and based on course topics that generated projects, students discover how photographic series engage different approaches to process-based work, ranging are conceptualized, structured and sequenced. Special attention from the improvisational to the systematic. Emphasis is placed is given to the material meaning embedded in print size, order on the shift from object to process, from the single manifestation and spatial placement. The course provides in-depth coverage to the series, from fixed to flux and back again. of image capture through medium-format analog and full-frame Credit 3 units. digital systems as well as intermediate digital editing and printing techniques. Students also explore various documentary and set- up strategies through narrative and non-narrative photographic F20 ART 516G Printmaking: Art Practice (Extra-Dimensional approaches. Through a rigorous critique structure, course Printmaking) readings and critical writing, students engage the historical Pushing the boundaries of printmaking, prints move beyond discourse surrounding the series as a tool for artistic expression. the wall and into sculpture, installation, and time-based Credit 3 units. work. Relief, silkscreen, and intaglio processes are explored, with an emphasis on print as theatre, object, and immersive environment. Through readings and discussions, students will F20 ART 517M Architecture Through the Photographic Lens engage with historical precedents and contemporary principles Same as F20 117M, F20 217M, and F20 417M; juniors (only) that support the creation of self-directed work that is extra- register for F20 317M. Photography offers ways of seeing and dimensional in physical and conceptual scope. representing the world around us. This course provides technical Same as F10 ART 316G and conceptual frameworks for understanding architectural Credit 3 units. Art: CDES, FAAM space as seen through the camera. Topics include building as site, landscape as context, and the architectural model as a representation tool. Students are introduced to a wide range F20 ART 516T Printmaking for Architecture and Art Students of artists and architects, which will help them to build a unique This course will focus on monotype mixed media printmaking camera language to support their individual projects. Students using both a press and digital print processes. The course will learn DSLR camera basics, fundamentals of Photoshop, is designed to be responsive to current issues with a digital printing techniques, and studio lighting for documenting focus on contemporary printmaking practices and various architectural models. The course assumes no prior experience ideas about dissemination in the age of social media. with digital imaging technologies or materials. Digital camera The course will include an examination of historical required. examples of diverse global practices; prints made in periods Same as F20 ART 317M of uncertainty, disruption, war, and disaster; and speculative Credit 3 units. Art: FAAM projects by architects such as Superstudio, Zaha Hadid Architects and Archigram. Students will be expected to create a series of work with a conceptual framework developing F20 ART 517N Contemporary Portraiture a personal visual language. Same as F20 117N, F20 217N, and F20 417N; juniors (only) Same as F20 ART 316T register for F20 317N. Historically, portraits were painted of Credit 3 units. Art: FAAM the royal or wealthy to document an accurate likeness and to display status and power. However, with the advent of photography, artists were freed to develop interpretations in F20 ART 517H Photography: Art Practice (Methods of style, process, and medium. With subjects such as family, Distribution) friends, strangers, celebrities, and the self, the portrait has been Same as F20 617H - First-year MFAs (only) register for F20 used to reflect culture, identity, and the relationship between 517H. One of the most effective aspects of the photographic the artist and the sitter. Issues of race, sexuality, gender, vanity, image today is its speed. The way that physical and virtual and status continue to be relevant to contemporary practice. images are presented and distributed has changed significantly This is primarily a drawing class, and students combine the since the initial branding of photography as the medium of study of contemporary portrait artists with a studio practice reproducibility. This class focuses on photography-based that encourages the development of a unique voice. Students uses of the image through various distribution formats like the consider how pose, gesture, lighting, and other factors work book, the poster, the newspaper, television, web, design, film, together to support their intentions. Initial assignment prompts apparel, architecture, music, etc. The students make, read, progress to guided independent pursuits. Students will be look, listen, and experience 20th- and 21st-century photography encouraged to experiment with image, materials, and processes. practitioners who engage a range of disciplines and methods Live models will be used as well as other source material. of distribution as they try to synthesize methods/models of their Same as F20 ART 317N Credit 3 units. Art: FAAM

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F20 ART 517P Drone Photography prints. Class activities include rigorous student project critiques, This combination studio and discussion-based course examines as well as reading and discussion elements focusing on the the use of small unmanned aerial systems (sUAS) — otherwise history of large format and its contemporary descendants in the known as drones — as a photographic medium. Studio sessions Dusseldorf School, abstract photography and installation art will introduce students to sUAS operation, various editing contexts. Class participants investigate the role of high-fidelity platforms, and output strategies. Lecture and discussion images. Assignments may address portraiture, still life, interior sessions will examine FAA regulations, the ethical implications and exterior architecture, landscape and abstract photography. of sUAS use by visual artists, and the rise of sUAS in the visual Large format 4"x5" cameras will be available for use. arts within the context of the history of aerial photography. All Credit 3 units. EN: H students will produce a body of work using drone capture as the primary medium. In order to ensure equal access to sUAS, F20 ART 518K Photography: Art Practice (Documentary students will be required to meet outside of class sessions. Same as F20 ART 317P Photography & Social Practice) Credit 3 units. Art: CPSC, FAAM EN: H Same as F20 618K. First-year MFAs (only) register for F20 518K. This course focuses on the various philosophical, aesthetic and technical approaches to photographing the F20 ART 517Q Context, Curation, Communication: Seriality contemporary, human-altered landscape and the communities in the Photographic Image we live in. Through slide lectures, field trips, in-depth critique Series and sequences are the prevalent method for exhibiting and supervised lab work, students are expected to increase their photographic images. Through assignment-based and self- awareness of how their own personal responses relate to those generated projects, students discover how photographic of other photographers with the same contemporary issues of series are conceptualized, structured, and sequenced. Special documentary photography. A project-based seminar focusing on attention is given to the material meaning embedded in print objectivity of the photographic document. Material and camera size, order, and spatial placement. The course provides in- format open. depth coverage of image capture through medium-format analog Credit 3 units. Art: FAAM EN: H and full-frame digital systems as well as intermediate digital editing and printing techniques. Students also explore various F20 ART 518P Photography: Art Practice (Art, Environment, documentary and setup strategies through narrative and non- narrative photographic approaches. Through a rigorous critique Culture & Image) structure, course readings, and critical writing, students engage The medium of photography offers multiple ways to engage with the historical discourse surrounding the series as a tool for critical social, political and environmental issues. Throughout artistic expression. this course, a wide range of photographic tools and modes of Credit 3 units. production will be explored, including digital and film-based materials and a variety of printing techniques. The course will also consider the integration of alternative methods of lens- F20 ART 517R Art Practice: Photography (Black-and-White based communication and working to construct images within Master Printing) relevant contexts of meaning. Through presentations and This course offers an introduction to black and white master readings, students will be introduced to a range of contemporary printing techniques for analog and digital outputs. The first part of artists working with essential topics such as climate change, the course will focus on advanced darkroom techniques, as well ecological sustainability, energy production and extraction, and as the use of developers, papers, and toners. The second part the human body and technology. Students will work to build a of the course will cover advanced digital b/w strategies, including final and self-directed project identified through their ongoing quadtone RIPs, specialty papers, and Photoshop workflows. research and image production. Required for the BFA in Art In addition to technical demonstrations, course lectures will photography concentration. Prerequisite: Photography Studio: look at the role master printers have played in the history of Material and Culture. photography. Visits to the Mildred Lane Kemper Art Museum Same as F10 ART 318P and The St. Louis Art Museum print rooms will compliment Credit 3 units. Art: CDES, FAAM lectures and activities. All students will develop a portfolio of personally-driven work in black and white. Required for the BFA F20 ART 518Q Photography: Art Practice (A Sense of Place in Art Photography Concentration. Prereq: Photography Studio: Material and Culture. Open to BFA and BA students who have or Understanding Place Through Photography) taken the prerequisite, and others, including minors and MFA This course explores the concept of "place" and the cultural students, with consent of instructor. implications that accompany the definitions of "place." Working Same as F10 ART 317R with photography and taking inspiration from the fields of Credit 3 units. geography, environmental studies, urban design and cultural anthropology, this course considers how a relationship to place is constructed. We will also consider displacements throughout F20 ART 518J Photography: Art Practice (Slow Image: Large history and value systems embedded in the construction of Format Photography) a sense of place. Is one's relationship to place personal? Same as F20 618J. First-year MFAs (only) register for F20 Is it collective, is it cultural, is it rooted in the surrounding 518J. This course provides an in-depth study of the large format environment? What are the marks that define a sense of place, analog camera and its unique formal position. Using the 4"x5" and is there residue or lingering evidence that can be perceived? format, students examine this slow, high-fidelity photographic The medium of photography has unique capacities to address medium both technically and conceptually. Students employ a these questions. This studio course builds knowledge through comprehensive photographic process, including loading sheet photographic practice with accompanying readings, seminar film, applying the zone system, scanning large format film, discussion and guided assignments. Students will participate editing digital images, and creating large format digital inkjet in an active process of exploring diverse concepts of place in

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relationship to the built environment. Students will be introduced F20 ART 528C Documentary Film to a range of ways of making and thinking about the subject This course investigates techniques of powerful nonfiction filmic of place, including looking at place as site, as geography, as storytelling that symbiotically merges visual and literary narrative memory, as non-place, as urban space, as rural space, as devices. We will explore the organic process of research, community, and as ecological site. No formal photographic interaction and craft to construct three short films. Students will training is necessary. Students will be introduced to the basics of be encouraged to go beyond apparent subject matter to inquire camera operation, Photoshop and Lightroom software for editing into deeper/underlaying content that touches on timelessness and the fundamentals of digital print output for fine art printing and global/human topics. Within set parameters, students will be covered. choose their own filmic topics and structures. Graduate and Same as F10 ART 318Q undergraduate students can form teams or work independently Credit 3 units. Art: CDES, FAAM as their own producer, writer, director, cinematographer, editor and sound recordist. No previous experience required. F20 ART 519J Structural Ceramics Same as F20 ART 328C This course is designed for advancing study in 3D practices Credit 3 units. Art: FAAM within clay processes and in sculpture. Several techniques in clay will be explored, and hand-building will be emphasized. F20 ART 528D Experimental Photography: Cameraless to Methods of creating will include coiling, slab building, casting, Polaroid, Form to Content and subtractive modeling. In this course, we will understand These days, everyone is a photographer, right? But how does and research clay as a material that engages in structure and that image snapped with your smartphone arrive on your introduces new sculptural ideas that define scale, balance, screen? As technology marches forward, we have images form, and so on. Surface design with cold finishes and glazes, literally at our fingertips, yet the actual process of producing firing processes, and mold making will be explored as means of the picture is, ironically, more elusive. In this course, we will building and finishing content. Discussions and presentations dive into experimental processes and examine how physically will focus on the history and contemporary traditions of ceramic making the picture can affect the content of that picture. As structures and sculptures. Emphasis will be placed on the critical you craft images, ideas become tied to process and suggest assessment and articulation of material. new directions, strategies and subjects. We will begin with Same as F20 ART 319J cameraless techniques, such as the photogram and cyanotype; Credit 3 units. Art: FAAM we will investigate the principle of the camera obscura; we will test out rudimentary cameras such as the pinhole and F20 ART 525J Sculpting Realities disposable models; and we will experiment with printing This course investigates new digital technologies -- particularly techniques such as Polaroid and Xerox transfer, examining mixed, augmented, and virtual reality -- through the artists using these various techniques along the way. As we consideration of one critical question: "What does it mean to move through the semester, students will learn the various ways be real?" Students will learn the basics of making works of that light can create images, and they will begin to find their own art, design, and architecture in alternative realities through particular voice within these mechanizations and create original 3D scanning, 3D modeling, and immersive world building. In work. addition to tutorials and multidisciplinary collaborative studio Same as F20 ART 328D projects, students will investigate issues of reality and the Credit 3 units. Art: FAAM use of alternative reality tools through readings, discussions, presentations, and other dialogues. The semester will culminate F20 ART 528E Making Documentaries in the Time of Covid in a final project that translates a physical experience or artifact Documentary video is a powerful tool to spotlight the frustrations into a digital one. and triumphs of our daily lives. Unlike fiction films, the Same as F20 ART 325J inquiry and the questions that start the process of making a Credit 3 units. Art: FADM documentary end up as an adventure and often the film itself. Many filmmakers discover unexpected answers, reveal hidden F20 ART 527A History of Photography histories, humanize previously one-dimensional characters, and Same as F20 627A. First-year MFAs (only) register for spotlight even more in-depth questions. The global pandemic F20 527A. Survey of the history of photography and a look offers a unique opportunity to create videos that acknowledge at the medium from the camera obscura to contemporary this moment, with the potential to become a significant part developments. Social and technological developments examined of an international conversation. Even beginning filmmakers in terms of their influence on the medium. can give voice to issues that will be included in the historical Credit 3 units. EN: H record. Students will learn about or improve their cinematic aesthetics and professional video editing skills by making three short videos. F20 ART 528A History of Photography Same as F20 ART 328E Same as F20 628A. First-year MFAs (only) register for Credit 3 units. Art: CPSC, FAAM F20 528A. Survey of the history of photography and a look at the medium from the camera obscura to contemporary developments. Social and technological developments examined F20 ART 529C Time-Based Media: Art Practice (Mediated in terms of their influence on the medium. Performance) Credit 3 units. Art: FAAM EN: H Same as F20 629C - First-year MFAs (only) register for F20 529C. This course explores the body as a time-based medium and a vehicle of expression that interacts with cinematic and sound technologies, undergoing gradual semantic, virtual and visceral transformations. Students create performance-based

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video and sound works that are mediated with electronic/digital technology and performed or screened in public. Collaborative, F20 ART 533E Research Methods (Image and Story) individual political and poetic actions and happenings are This is a course in image-making for functional contexts. encouraged. Students focus on the production of conceptually Students develop projects that isolate issues of approach, rigorous and technically convincing work that embodies their production, distribution and market in the landscape of illustration performative, experimental and individually designed ideas. and cartooning today. Targeted research questions are posed Credit 3 units. EN: H in response to individual student work. Successful completion of the course requires the development of and commitment to F20 ART 529L Time-Based Media: Art Practice (Expanded an aesthetic and creative position within the fields of illustration Cinema) and cartooning. Readings address the history and culture of By focusing on experimental approaches to digital filmmaking, illustration, comics and animation. this course offers opportunities for independent producers Credit 3 units. arising from hybrid media interests. The course encourages and supports a variety of cinematic concepts, from non-narrative to F20 ART 533L Applied Illustration documentary and activist approaches. Instruction will encompass This course will explore drawing and conceptual development technical, conceptual, and creative skills for taking an individually in the landscape of professional picture-making and illustration. conceived project from idea to fruition. Using the lens of an applied professional process, students will Same as F10 ART 329L make work that explores and establishes an artistic viewpoint. Credit 3 units. Art: CDES, FAAM, FADM Focused research, idea development, formal experimentation, and class critique are vital to these goals. Using this contextual F20 ART 530I Time-Based Media: Art Practice (New Media in practice, students will advance toward the development of an individual voice. This course is applicable to anticipated career Art) directions in image making, illustration, comics, picture books Same as F20 630I. First-year MFAs (only) register for F20 530I. and visual storytelling. Prerequisite: Communication Design: Exploring the intersection of art and technology, the course Word & Image II or permission of instructor. focuses on the phenomenon of time as an artistic medium and Same as F10 ART 433L as the subject of work. Through the production of time-based Credit 3 units. Art: CDES, FADM works in a virtual realm, students learn about compositional choices, narrative and non-narrative strategies, and ethical and political responsibilities that artists and artist collectives face in F20 ART 535J Introduction to Animating in Three the 21st century. Students gain exposure to selected software Dimensions as it pertains to their individually designed projects. Readings, Same as F20 635J - First-year MFAs (only) register for F20 writing assignments and an active participation in critiques of 535J. This course explores 3D animation in the short film format. works by contemporary new media artists will be part of this Students move from an overview of the process and visual seminar. vocabulary of animation to defining filmic ideas, the visual gag, Credit 3 units. Art: FAAM and character-driven content. Cinematic shot design, timing, character design, and sound design are studied for determining F20 ART 530L Time-Based Media: Art Practice (Expanded the most effective means of communicating desired content. Hand-drawn sketches are imported into a 3D animation program Cinema) as the basis to model and animate characters, create settings, By focusing on experimental approaches to digital filmmaking, and add special effects. An animated sequence is produced this course offers opportunities for independent producers arising to show evidence of personal inquiry and level of expertise. from hybrid media interests. Expanded Cinema encourages and Prerequisite: Drawing or equivalent or permission of instructor. supports a variety of cinematic concepts, from non-narrative to Credit 3 units. EN: H documentary and activist approaches. Instruction will encompass technical, conceptual and creative skills for taking an individually conceived project from idea to fruition. F20 ART 535K Animated Worlds Same as F10 ART 330L This course explores traditional and experimental 3D animation Credit 3 units. Art: CDES EN: H in a short film format. Beginning students will learn polygon and NURBS modeling, texturing, lighting, rigging props, and characters in Maya. A storyboard, animatic and final rendered F20 ART 532E Panel By Panel: Narrative Comics short will be developed for two major projects. Advanced skill Comics are a medium with a long history. The desire to tell a sets include development, character design, 3D modeling, story through a sequence of images has existed since humans rigging, visual effects, sound, and rendering. No prerequisites began drawing and documenting. This course teaches students or previous experience required. This course can be taken to create comics, with both fiction and nonfiction narratives. multiple times at either the beginner or advanced level, and it Students will be introduced to historic and contemporary is open to students of all levels across the university. Graduate examples of comics over the course of the semester. Through and advanced students can build independent projects with assignments and in-class workshops, students will learn the permission of the instructor. basics of making comics, including panel transitions, the Same as F20 ART 335K relationship between words and pictures, pitching a concept, Credit 3 units. Art: FADM breaking a plot down into a script, production. Assignments will span a range of narrative lengths; exploration of digital and print formats is encouraged. Same as F10 ART 332E Credit 3 units. Art: CDES, FADM

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F20 ART 536A Interaction Design: Understanding Health and ideas. In this course, students will respond to prompts and Well-Being create self-generated expressive and experimental projects that Same as F20 236A and F20 436A; juniors (only) register for explore the language of design in a tactile form. Students will be F20 336A. Through a blend of presentations from practitioners, introduced to both basic and advanced typographic knowledge classroom lectures, readings, discussions, and hands-on as they ground thier work in the visual expression of language. exercises, this course will engage principles and methods Prerequisite: Communication Design: Word & Image II. of interaction design within the context of health challenges. Same as F10 ART 437N Broadly defined, interaction design is the practice of designing Credit 3 units. Art: CDES, FADM products, environments, systems, and services with a focus on behavior and user experience. We will take on an in- F20 ART 538J Advanced Animation depth challenge in the area of health and well-being and Same as F20 138J, 238J, 438J. Juniors (only) register for F20 work in cross-disciplinary design teams with an external 338J. This course focuses on completing a short animated film partner organization. Students will gain experience in planning as a group project utilizing a workflow similar to that used in and executing a human-centered design process featuring the animated feature film industry. The class will first develop research, ideation, synthesis, concept development, prototypes, a story. Individuals will then be assigned tasks according to and a final presentation, which may include visual design, strong areas of interest to create a storyboard and animatic. Key animation, and sound. Students will work in teams to develop moments will be identified to be animated first. Once agreed on, several intermediate project deliverables, such as prototypes students will be able to choose to work in various parts of the and sketches. No prior course work is necessary, although pipeline including Character Design; Layout and Set Design; experience with Adobe Photoshop, Illustrator, and InDesign is 3D modeling; Rigging; Animation; Textures; Special Effects; helpful. Sound; Rendering and Editing. Finally, it is all put together Same as F20 ART 336A as a short. This is an advanced course that assumes some Credit 3 units. Art: CPSC, FADM EN: H experience in Maya or similar 3D program, or for those who have already developed skills in any form of animation. Prerequisite: F20 ART 536I Communication Design I Introduction to Animating in Three Dimensions or permission of Same as F20 136I, F20 236I, and F20 436I; juniors (only) instructor. register for F20 336I. Students are introduced to the Same as F20 ART 338J fundamentals of communication design. Through studio Credit 3 units. Art: FADM EN: H exercises and lectures, students are exposed to a broad range of conceptual, aesthetic, and strategic issues in the field. F20 ART 541G Digital Game Design The course explores principles of two-dimensional design, Designing a digital game that is both entertaining and usable typography, and the relationship of text and image in order requires understanding principles of user interface, game theory, to persuade and inform. It helps students to learn a design and visual design. In this course, students will be introduced to methodology for illuminating and solving problems, and it basic game design strategy and practice in the development of provides baseline training in the Adobe Suite. Upon completion their own game projects. Using both paper and the digital screen of this course, students will be able to design basic projects as a canvas for design, students will explore gameplay iterations and have criteria to provide an informed evaluation of the and create visual components. No prior experience in visual effectiveness of a given design. It provides an introduction to design, coding, or digital games is necessary. design as a tool for business and marketing. Same as F20 ART 241E Same as F20 ART 336I Credit 3 units. Art: FADM Credit 3 units. Art: FADM EN: H F20 ART 5444 The Art of Community Engagement Project F20 ART 536L Animated Worlds Same as F20 6444 - First-year MFAs (only) register for F20 This course explores traditional and experimental 3D animation 5444. This course consists of a public art project completed in a short film format. Beginning students will learn polygon in association with underserved communities in St. Louis. and NURBS modeling, texturing, lighting, rigging props, and Works of art will be proposed and executed during the course's characters in Maya. A storyboard, animatic and final rendered duration. Students will engage with various communities in short will be developed for two major projects. Advanced skill creative collaborative research and thinking, resulting in work, sets include development, character design, 3D modeling, which reflects and honors the cultural aesthetic and ecological rigging, visual effects, sound, and rendering. No prerequisites values of the specific community. Each student will present their or previous experience required. This course can be taken concepts to a committee from the institution. Each student will be multiple times at either the beginner or advanced level, and it given a modest budget to support the production and installation is open to students of all levels across the university. Graduate of their work. Course will involve guest speakers, individual and advanced students can build independent projects with research, site visits and group discussions. permission of the instructor. Credit 1.5 units. EN: H Same as F20 ART 336L Credit 3 units. Art: FADM F20 ART 5445 Art & Community Engagement This 11-week course consists of public art projects completed in F20 ART 537N Type as Image: Experiments on Press association with underserved communities in St. Louis. Works of Working in the Kranzberg Studio for the Illustrated Book, art will be proposed and executed during the course's duration. students will use printing to explore the expressive possibilities Students engage with communities in creative collaborative of typography both as language and as image/illustration. research and thinking, and this results in works that reflect Graphic shape, line, tone, color and type can all be used as raw materials in the construction of messages, stories and

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and honor the cultural aesthetic and ecological values of the who are interested in creating interdisciplinary works that merge specific community. Each student will be given a modest budget performance art with other forms of expression, including visual, to support their concept. The course involves guest speakers, digital, acoustic, textual and cinematic. Working with their own individual research, site visits, and group discussions. performing selves as a material in their art -- and with domestic Credit 1.5 units. or landscape space -- students will be invited to reconsider what performance art means in the age of a post-global, post- pandemic and post-digital universe in which the biological F20 ART 544A Animation Tools and Methods environment, including nature and their own bodies as part of This course introduces a range of digital and analog production it, continues to enact gestures and make aesthetic statements techniques for the practice of animation. It will also present set against global histories. This studio incorporates elements fundamental concepts and issues that define this creative form. of a seminar by way of discussing histories of performance art, Prerequisite: Digital Studio or permission of instructor. performativity, and rituality as well as by supportong individually Same as F20 ART 344A guided research and collaboration. During the semester, Credit 3 units. Art: FAAM, FADM students will create two major performance-based works that incorporate other media of choice, such as film, music, text, or F20 ART 5461 BookLab installation. Student work will be documented and demonstrable Same as F20 6461 - First-year MFAs (only) register for F20 in their portfolios. Several smaller improvised or in-class 5461. This course will address several alternative forms of the assignments will lead toward a final project accompanied by an book and the effect they have on shaping content. We will pay artist text. Readings, lectures and invited guests will accompany particular attention to the concept of authorship in contemporary this studio. artists books, which will be supported by visits to the Olin Library Same as F20 ART 352B Special Collections. Using the materials and equipment in the Credit 3 units. Art: FAAM Kranzberg Book Studio students will work with the instructor to explore the origination and shaping of content through F20 ART 562 Why Art Matters form. Letterpress, alternative print process, and bookbinding This lecture and discussion course will examine how art, which techniques will be covered. productively utilizes ambiguity and discontinuity, is a distinctive Credit 1.5 units. form of expression and communication. Functioning not as a bearer of meaning but rather as a shaper of meaningful F20 ART 547T Artist's Book questions, art invites interpretation and introspection. As such, This course will examine the role of the book as an artifact of art -- which often functions to rekindle perception and give rise to material culture. We will investigate definitions of the artist's book new ways of thinking about and being in the world -- empowers and current uses of the book form as metaphor in contemporary individual thought, encourages empathy, and celebrates the art. We will look at the work of artists such as Anselm Kiefer, diversity of ideas and opinions that are vital to conditions of Ann Hamilton, Rachel Whiteread, Kiki Smith, William Kentridge, freedom. With this in mind, multimedia lectures will explore the Sophe Calle, Dieter Rot, and many others. In addition, we will perspectives of contemporary artists (e.g., James Turrell, Cerith look at the role of artist's books and publications in many 20th- Wyn Evans, Wangechi Mutu), psychologists (e.g., Winnicott, century artistic movements. Course projects will center around Frankl, Freud), philosophers (e.g., Heidegger, Bataille, Merleau- the exploration of various types of editioned artworks, such as Ponty), linguists (e.g., Lacan, Pierce, Saussure), sociologists, artist's multiples, mail art, zines, and more. cognitive scientists, cultural theorists and others. In addition, Same as F20 ART 347T readings, discussions, in-class group interpretations and written Credit 3 units. critical analysis will provide students with the tools required to understand how art, which is a distinctive form of expression and communication, matters; it matters, as Bill O' Brien argues, F20 ART 551A Sound Environments because it teaches us how we matter. This course explores sound and musical composition in a digital Same as F20 ART 362 format, functioning as a sculptural, spatial, psychological, and Credit 3 units. Art: VC EN: H architectural intervention. The course offers an introduction to current sound art practices and examines how sound projects are capable of altering our sense of space and time. Sonic space F20 ART 5664 Study Abroad - Berlin Sommerakademie necessarily touches upon experimental music and installation art This seminar explores the international contemporary art center, as closely related to sound art. The course introduces students Berlin, through artist studio and museum visits and discussions to basic methods of sound recording and editing software and with curators and scholars. This course offers a unique context hardware, with the goal of composing sound works for space and to explore various modes of cultural production in relation to for headphones. Readings pertaining to current developments the material, social and political conditions of the city. Berlin's in contemporary experimental music and sound art as well as memorial sites that bore witness to the city's traumatic past regular writing assignments accompany the course. during the Third Reich and Cold War division as well as its global Same as F20 ART 351A presence further provide the opportunity to examine context- Credit 3 units. Art: FAAM EN: H driven work. The seminar meets seven or eight times prior to departure and over the course of approximately one month in Berlin and Venice, where the program culminates at the F20 ART 552B Performing Solitude Biennale. This course counts as an elective or toward the 18 Performing Solitude is a new elective studio with elements units of art history required for the MFA degree. of a seminar, and it is open to students from across campus Credit 3 units. EN: H and suited most for upper-level undergraduates and graduate students in art, architecture, performing arts, music, and film & media studies departments. Performing Solitude invites students

13 Bulletin 2021-22 Graduate School of Art (09/09/21)

F20 ART 5713 Introduction to Book Binding whose studio practice touches on the intersection of art and the Same as F20 1713, F20 2713, and F20 4713; juniors (only) political. We will begin with questioning and seeking answers register for F20 3713. This course will serve as an introduction in the studio that then generate more questioning. What does to the book as artifact of material culture. A variety of traditional this historical and geographic moment in time signify for each and non-traditional book structures will be explored. Students of us as individuals and as members of a collective community? will learn from historical approaches to constructing the codex As individuals we stand in our own truths and this can be form, including the single-signature pamphlet, the multi-signature empowering. As artists how can we activate our passions toward case binding, the coptic, and the medieval long stitch. Students actuality and how can this be contagious for our "audience" will learn Japanese binding and its many variations. Several through the actions and objects generated from our studio contemporary variations will be introduced, including the tunnel, practice? What challenges does activist art present in your the flag book, the accordion, and the carousel. Students will studio? Is art a mirror of culture or can it be a producer of explore the visual book using found imagery and photocopy culture? Does art have the power to change culture? Can artists transfers, and they will produce a variety of decorated papers to be agents of history? To culminate this workshop, graduate be used in their bindings. students will present their work as aligned with contemporary Same as F20 ART 3713 issues and as an open inquiry to how their studio practice may Credit 3 units. Art: FADM EN: H be a tool for social change. Credit 1.5 units. F20 ART 578 Contemporary Discourses: Art + Feminism This course investigates the impact of feminism on contemporary F20 ART 585B Beyond Words, Beyond Images: art, focusing on artwork produced between the 1960s and the Representation After History present day. Through an examination of global practices in The seminar focuses on art in the public domain and examines a wide range of media, including artworks in the university's contemporary practices that engage public memory and the Kemper Museum collection, students will delve into innovative meta-city. Prompting students to consider their own practice aesthetic strategies that criticize assumptions of gender, race in the context of public space, the seminar offers examples of and social class and consider the intricate tie between the projects that contribute to global cultural and political discourse. identity of the author and the content of the work. This course Weekly illustrated lectures, readings, writing assignments, is taught by a practicing artist, who together with the students screenings, discussions, and individual research lead toward will uncover historical developments and epic omissions. This the final term paper. Individual studio consultations serve as is a lecture course with a discussion component. Requirements a platform for the discussion of students' evolving practice, include participation in weekly discussion sections, regular leading toward the final project in a medium of choice. MFA VA response papers, and a final written curatorial project. No students and graduate students in architecture are especially prerequisites in Art or Art History required. welcome. This is an upper-level course open to juniors, seniors, Same as F20 ART 378 and graduate students only. Credit 3 units. Art: CPSC, FAAM EN: H Same as F20 ART 385B Credit 3 units. Art: FAAM, GFAH, VC F20 ART 5783 Special Topics in Visual Culture: Introduction to Illustration Studies F20 ART 585D Art Seminar: Fantastic Voyage and Scales of Same as F20 6783 - First-year MFAs (only) register for Wonder F20 5783. How have knowledge, opinion, and feeling been Affective encounters with scale -- encounters that make us communicated visually from the advent of automated printing aware of our bodies in relationship to the world around us -- presses to the invention of the internet, and to what effect? occur broadly throughout human experience, from viewing Using concepts in visual studies and communication studies, miniature particles through the lens of a microscope to this course explores the histories of primarily American visual- wandering through monumental architectural environments. verbal texts to investigate how minds and hands conceived, Undeniably, scale and affect are integral to the lived experience produced, distributed, and consumed illustrated print media in and to the ways in which art, design and the built environment the 19th and 20th centuries. Beginning with the neurological have developed over the past half century. Through lectures, basis of vision, we will examine ways culture affects perception, discussions, and critical readings, Fantastic Voyage and Scales how print technologies shape content, how word and image of Wonder will examine scale as a central theme to explore our rhetorically shape beliefs, how power relations imbue images encounters with built environments and designed objects alike. and publishing, and the ways counterculture forms such as Readings and discussions will span media archeology and affect caricature and posters can be used to intervene socially. theory. This seminar will also examine the impact of such works Students will conduct original research using University Libraries as Charles and Ray Eames's 1968 documentary "The Powers of Special Collections to hone their ability to write convincingly and Ten" and the 1966 cult film "Fantastic Voyage" (which inspired professionally about imagery. No prerequisites; counts toward Isaac Asimov's science fiction novel of the same name) on art, design minor. design and architecture today. Credit 3 units. Same as F20 ART 385D Credit 3 units. Art: FAAM, FADM F20 ART 5851 Art-ivism Same as F20 6851 - First-year MFAs (only) register for F20 F20 ART 592A BookLab 5851. What is art-ivism? It seems appropriate that a new Same as F20 692A. First-year MFAs (only) register for F20 word be invented to identify strategies used by artists to raise 592A. This course will address several alternative forms of the questions and seek answers to some of the most pressing book and the effect they have on shaping content. We will pay issues of our day. This workshop is a series of conversations, particular attention to the concept of authorship in contemporary readings and brainstorming sessions for graduate students artists' books, which will be supported by visits to the Olin Library

14 Bulletin 2021-22 Graduate School of Art (09/09/21)

Special Collections. Using the materials and equipment in the F20 ART 602D Drawing: Art Practice (Collage: History and Kranzberg Book Studio, students will work with the instructor Practice in Contemporary Art) to explore the origination and shaping of content through Same as F20 502D. Second-year MFAs (only) register for form. Letterpress, alternative print process, and bookbinding F20 602D. This course will examine the role of collage in techniques will be covered. contemporary studio practice. Students will be required to Credit 1.5 units. assemble an archive of images from various sources, found and self-generated, to produce a body of work based on a F20 ART 601A Drawing: Art Practice (Conceptual Methods in specific theme. Readings and discussion related to the course Drawing) will examine the evolution of collage and its present status and Same as F20 501A - Second-year MFAs (only) register for F20 application within contemporary studio practice. 601A. Drawing is a communicative device; it is a primary means Credit 3 units. Art: FAAM of conceptual strategy leading to effective visual exploration and expression, from thought to form. This studio course F20 ART 603B Collage: History & Practice in Contemporary looks at the practice of drawing in the context of language, Art scientific paradigms, complementary and alternative art forms, This course examines the role of collage in contemporary studio socio-political theory and history as they relate to visual practice. Students are required to assemble an archive of culture and invention. Lectures, critical readings, and analysis images from various sources, both found and self-generated, to of historical and contemporary modes of drawing support produce work based on specific themes. This course integrates students in their course work. Projects in this course may collage practice with other visual disciplines. Readings and consider mapping, language systems, formulaic constructions, discussion related to the course examine the evolution of collage material essentialism, physiologic/kinesthetic approaches, and and its present status and application within contemporary art performative aspects of drawing. production. Credit 3 units. EN: H Same as F20 ART 303B Credit 3 units. F20 ART 601E Anatomy Figure Structure This rigorous drawing course explores traditional and new F20 ART 608B Engaging Community: Understanding the representations of the figure through the study of its structure and contemporary contexts. Research involves basic anatomy Basics lectures and sketchbook activities that provide a vehicle for What does it mean to engage in community as a creative discovering the figure's architecture, mechanics and proportions. practitioner? Community engagement must be grounded in Art production is based on in-class and outside projects. authentic relationship building and an ability to understand Lectures, presentations, critical readings and the analysis of and act within the historic context and systems that impact historical and contemporary figurative works support students communities. We will practice the skills of listening, observation, in their investigations. Prerequisites: Drawing (F10 101A or F10 reflection, and improvisation. We will cultivate mindsets that 102A). focus on community assets and self-determination. Workshops Same as F20 ART 301E will teach facilitation and power analysis, with the intention of Credit variable, maximum 3 units. Art: FAAM upending the power dynamics between community and creators. This course pairs with "Engaging St. Louis: Sites, Stories, and the Struggle for Racial Justice" [working title]. It may count F20 ART 602 Drawing toward the minor in Creative Practice for Social Change if An advanced drawing course for third- and fourth-year bundled with "You Are Here: St. Louis' Racial History Through students. Individualized instruction allows students to explore Sites and Stories." various media and stylistic approaches in both figurative and Same as F20 ART 308B nonfigurative modes. Credit 1.5 units. Art: CPSC Same as F20 ART 302 Credit 3 units. Art: FAAM EN: H F20 ART 609B Eco-Art Eco-Art explores the intersection of art, ecology and ethics. F20 ART 602B Drawing: Art Practice (Conceptual Methods in Though the movement is broad and growing, eco-art re- Drawing) envisions our relationship with the natural world by informing, Drawing is a communicative device; it is a primary means of challenging, inventing, and reclaiming. This studio-based course conceptual strategy that leads to effective visual exploration introduces various artistic practices and working methodologies and expression, from thought to form. This studio course related to environmental art, exploring "green" methodologies, looks at the practice of drawing in the context of language, repurposed objects, land art, ecoventions, social sculpture, scientific paradigms, complementary and alternative art forms, and community activism. The course is organized around art sociopolitical theory, and history as they relate to visual culture historical precedents, and it is supported by critical essays and invention. Lectures, critical readings, and the analysis and examples of contemporary practice, including discussion of historical and contemporary modes of drawing support of eco-design and sustainable architecture. Projects are open to students in their course work. Projects in this course may multidimensional solutions in a wide variety of media. involve mapping, language systems, formulaic constructions, Same as F20 ART 309B material essentialism, physiologic/kinesthetic approaches, and Credit 3 units. Art: CPSC performative aspects of drawing. Same as F10 ART 302B Credit 3 units. Art: CDES, FAAM

15 Bulletin 2021-22 Graduate School of Art (09/09/21)

F20 ART 611 Painting goal of developing expressive qualities with image-making. Same as F20 511. Second-year MFAs (only) register for Lectures, presentations, critical readings, and the analysis of F20 611. This course is an introduction to oil painting with historical and contemporary figurative works support students an emphasis on the principles of color, construction and in their investigations. Required for the BFA in Art painting paint handling. Students will explore the possibilities of concentration. Prerequisite: Painting Studio: Material and representational painting as applied to still-life, interiors, Culture. Open to BFA and BA students who have taken the landscape and the human figure. The course is designed prerequisite and others, including art minors and MFA students, especially for beginning painters, but can accommodate painters with permission of the instructor. at all levels of proficiency. Same as F10 ART 311J Credit variable, maximum 6 units. EN: H Credit 3 units.

F20 ART 611D Painting: Art Practice (Special Topics: F20 ART 611T The Poetics of Image-Making: People, Place & Narrative Systems: The Frame, The Grid, The Screen) Space Same as F20 511D. Second-year MFAs (only) register for This painting elective course examines the poetics of image- F20 611D. This studio course focuses on various narrative making, with a focus on the representation of people, place, strategies in relation to painting's mythology and its function and space, both observed and invented. Students learn the in contemporary culture. Topics to include narrativity, the practice of painting and develop works through fundamental politics of lens and screen, invented fictions, social vs. virtual exercises as well as through the shared exploration of painting spaces, and site specificity. Instruction will encompass technical, processes. Work outside of class for the beginner is project- conceptual and creative skills for taking an individually conceived based; advanced students produce an independent body of project from idea to fruition. Students will be encouraged to work. Critical assessment of work is complemented by faculty consider traditional and alternative forms of painting as well as and peer discussions, readings, and field study. Required text: digital imaging, installation, net art, and so on. Lectures, critical "The Poetics of Space" by Gaston Bachelard. essays, and analysis of historical precedents and contemporary Credit 3 units. practitioners will support students in their course work. Required for a concentration in painting. F20 ART 611U The Language of Moving Images Credit 3 units. EN: H This course will examine the language of moving images, which includes -- among other elements -- shot construction, F20 ART 611F Painting: Art Practice (Language of sequencing, duration, sound integration, scale, and situational Abstraction) contexts. Through screenings, readings, lectures, discussions This course examines strategies of abstraction and non- and critiques, students will develop the skills required to objective image making that originate in the painting studio, interpret moving images and to think about their productions, including those that are driven by concept, material, space, and which may utilize forms other than video or film and include process. Readings and discussions will examine the evolution installation components. This course is not focused on technical and history of abstraction and its present applications within a approaches, and students' creative work will be driven by contemporary studio practice. The course will engage students individual concerns and may be accompanied by written in both assigned and self-directed work that will enable them to analysis. Prerequisite: Digital Studio/Digital Design. experiment with a broad visual vocabulary while understanding Same as F20 ART 311U the relationship between form and content. Credit 3 units. Same as F10 ART 311F Credit 3 units. Art: CDES, FAAM F20 ART 612E Painting: Art Practice (Place and Space) Same as F20 512E - Second-year MFAs (only) register for F20 F20 ART 611G Painting: Art Practice (Place and Space) 612E. This course examines ideas of place and space — both Same as F20 511G - Second-year MFAs (only) register for F20 observed and invented — established through the surface and 611G. This course examines ideas of place and space — both materiality of paintings. Students develop a unique body of work observed and invented — established through the surface and through shared exploration of painting processes and materials, materiality of paintings. Students develop a unique body of work along with independent research. Critical assessment of work is through shared exploration of painting processes and materials, complemented by faculty and peer discussions, readings, written along with independent research. Critical assessment of work is critical analysis and field study. complemented by faculty and peer discussions, readings, written Credit 3 units. EN: H critical analysis and field study. Required for a concentration in painting. F20 ART 612F Painting: Art Practice (Language of Credit 3 units. Abstraction) Same as F20 512F. Second-year MFAs (only) register for F20 F20 ART 611J Painting: Art Practice (Figure Structure) 612F. This course examines strategies of abstraction and non- This rigorous painting/drawing course explores new objective image-making that originate in the painting studio, representations of the figure through its structure and including those that are driven by concept, material, space and/ contemporary contexts. Initial research involves anatomy or process. Readings and discussion will examine the evolution lectures and extensive sketchbook activities that provide a and history of abstraction and its present applications within a vehicle for discovering the figure's architecture, mechanics contemporary studio practice. The course will engage students and proportions. Students develop an independent body of in both assigned and self-directed work that will enable them to work accessing visual data from a variety of sources (paintings, experiment with a broad visual vocabulary while understanding photography, sculpture, memory, model sessions), with the the relationship between form and content.

16 Bulletin 2021-22 Graduate School of Art (09/09/21)

Credit 3 units. Art: FAAM F20 ART 613H Sculpture: Blacksmithing Same as F20 113H, F20 213H, and F20 413H; juniors (only) F20 ART 612G Painting: Art Practice (Body Image) register for F20 313H. This course is an introduction to Same as F20 512G - Second-year MFAs (only) register for blacksmithing materials, tools, and techniques. Students will F20 612G. This is a rigorous painting/drawing studio course explore the fundamental techniques of hand-forged metal. Metal investigating various methods of pictorial construction (historical, can be manipulated as a plastic material, and it offers enormous contemporary) and the role of figuration in contemporary art possibilities for three-dimensional form. In this course, we will practice. Students will be required to produce an independent explore these possibilities and expand our sculptural vocabulary. body of work based on a theme and generated from a variety Same as F20 ART 313H of references (imagination, life, photography, painting, film, Credit 3 units. Art: FAAM EN: H etc.) Discussions to include contemporary notions of identity structures, social and gender politics. Lectures, critical readings F20 ART 613I Sculpture: Metal Fabrication and the analysis of historical and contemporary modes of figural Same as F20 113I, 213I, 413F - Juniors (only) register for F20 representation will support students in their investigations. 313I. Metal is the backbone of our modern world and a viable Credit 3 units. medium for self-expression. It can be employed as structure or as surface, it can be plastically deformed to create compound F20 ART 612H Painting: Art Practice (Place and Space) shapes or it can be connected to most any other material. This course examines ideas of place and space -- both observed Students will explore the creative potential of this material in the and invented -- established through the surface and materiality fabrication of sculptural forms. Students learn to weld using both of paintings. Students develop a unique body of work through gas and electric arc machines as well as the safe operation of shared exploration of painting processes and materials, along drilling, grinding and finishing tools. with independent research. Critical assessment of work is Same as F20 ART 313I complemented by faculty and peer discussions, readings, written Credit 3 units. Art: FAAM EN: H critical analysis and field study. Same as F10 ART 312H F20 ART 613J Digital Fabrication for Object Making Credit 3 units. Art: CDES This course explores the potential of digital tools in the creation of tangible objects. We will focus on "component manufacture" F20 ART 612P Painting: The Painted Figure as a means of sculptural production, i.e., creating linkages, This studio course is an introduction to the practice of painting, universal fittings, and adaptors that connect disparate materials. with an emphasis on the pictorial representation of the human Toys, mechanical systems, and construction products will be figure. Instruction will encompass a range of technical, researched as a point of inspiration. Students will be introduced conceptual and creative skills to be used for developing to various modeling software such as Rhino, AutoCAD, and projects. In-class projects will include working from the live SolidWorks and explore the potential of these platforms to model. Students will be encouraged to consider traditional and design 3-dimensional forms. A variety of output tools will be used alternative forms of painting. Lectures, critical essays, and but we will focus primarily on the planning for and use of laser analysis of historical precedents and contemporary practitioners cutters, 3D printers, and CNC routers. We will develop, design, will support students in their course work. No prerequisites. and manufacture components that, when combined with readily Same as F20 ART 312P available materials, can be used to create sculptural forms. This class will use iterative processes that move between digital and Credit 3 units. Art: FAAM analog model-making and sketching. Students will be introduced to the concept of kitbashing, and the modification of salvaged F20 ART 613F Sculpture: Foundry and found parts. This course introduces these concepts to Same as F20 513F - Second-year MFAs (only) register for F20 artists, designers, engineers, and anyone interested in exploring 613F. The focus of this course is to introduce students to the the possibilities of digital fabrication tools towards the creation of basic principles of bronze and aluminum casting according to the sculpture. No prerequisites. lost wax method. Students will learn mold making, direct organic Same as F20 ART 313J burnout, ceramic shell investment, metal chasing, and patination Credit 3 units. Art: FAAM in order to create finished sculpture. In addition to metal casting, students will use other material such as plaster, resin, steel, F20 ART 613M Sculpture: Art Practice (Sculptural Bodies) wood, rubber, plastic and foam to create a mixed media project that explores a specific idea or theme. Additional work outside This course investigates the sociopolitical issues of the body, the regularly scheduled class time is required. the figure, and their potential in contemporary art practice. The term "body" is used as an organism, in an expansive way, to Credit variable, maximum 6 units. investigate the metaphorical, physical, emotional, cultural, and spiritual bodies. A variety of media and methods are explored, F20 ART 613G Sculpture: Wood with an emphasis on three-dimensional work and object- Same as F20 513G - Second-year MFAs (only) register for F20 based performance. Lectures, demonstrations, and readings 613G. The focus of this course is to introduce students to the contextualize the potential of sculptural systems to constitute the basic principles of wood sculpture with an emphasis on furniture meaning of a contemporary body. making. Same as F10 ART 313M Credit variable, maximum 6 units. EN: H Credit 3 units. Art: CDES, FAAM

17 Bulletin 2021-22 Graduate School of Art (09/09/21)

F20 ART 613P Sculpture: Art Practice (Iterative Systems) these and other processes and materials such as welded metal This course investigates iterative approaches to making as a and cast glass, students will investigate how working with a means to generate multiple works and ideas simultaneously. particular material influences their concepts and resonates in Activities such as mold-making and nontraditional drawing will be the art they create. This 11-week course will investigate primary explored along with other process-based methods of capturing materials (clay, glass, concrete, paper, metal) and processes thoughtful gestures. Through readings and discussions, students of art making. We will explore the manipulation of these to find will engage with historical precedents and contemporary meaning at this point in our evolution. Emphasis will be placed principles that support the creation of self-directed work informed on individual student's investigation and experimentation. Each by the iterative mindset. Required for the BFA in Art sculpture student will investigate these materials conceptually, physically concentration. Prerequisite: Sculpture Studio: Material and and emotionally in relationship to their own studio practice. Culture. Open to BFA and BA students who have taken the Credit 1.5 units. prerequisite and others, including art minors and MFA students, with the permission of the instructor. F20 ART 614F Sculpture: Foundry Same as F10 ART 313P Same as F20 114F, 214F, 414F - Sophomores (only) register for Credit 3 units. F20 114F. The focus of this course is to introduce students to the basic principles of bronze and aluminum casting according to the F20 ART 613Q Compositions in Clay lost wax method. Students will learn mold making, direct organic In this course, students will broaden their understanding of clay burnout, ceramic shell investment, metal chasing, and patination as a viable medium of visual expression and three-dimensional in order to create finished sculpture. In addition to metal casting, exploration. Students will learn basic hand-building techniques students will use other materials such as plaster, resin, steel, to create sculptural constructions, discover the practical wood, rubber, plastic, and foam to create a mixed media project applications of wheel throwing through form and function, and that explores a specific idea or theme. Additional work outside explore ceramic tools and equipment to create installation the regularly scheduled class time is required. projects. Each student's skill level will be considered, and Same as F20 ART 314F projects will be adjusted accordingly. Emphasis will be placed Credit 3 units. Art: FAAM EN: H on critical assessment and articulation of material. Same as F20 ART 313Q F20 ART 614H Sculpture: Blacksmithing Credit 3 units. Art: FAAM Same as F20 113H, F20 213H, and F20 413H; juniors (only) register for F20 313H. This course is an introduction to F20 ART 6143 Matter in Hand Workshop blacksmithing materials, tools, and techniques. Students will Same as F20 5143. Second-year MFAs (only) register for explore the fundamental techniques of hand-forged metal. Metal F20 6143. All materials and processes carry meaning, so the can be manipulated as a plastic material, and it offers enormous choice of one material over another has an enormous impact possibilities for three-dimensional form. In this course, we will on the celerity, power and resonance of your work of art. For explore these possibilities and expand our sculptural vocabulary. example, the record of the evolution of human consciousness Same as F20 ART 314H is forever embedded in the artworks and text designed, made Credit 3 units. Art: FAAM EN: H and preserved in clay and paper. This course explores how the work of the hand informs the work of the brain and how, F20 ART 614I Sculpture: Metal Fabrication together, these activities find meaning in the mind. Through Same as F20 114I, 214I, 413I - Juniors (only) register for F20 these and other processes and materials such as welded metal 314I. Metal is the backbone of our modern world and a viable and cast glass, students will investigate how working with a medium for self-expression. It can be employed as structure or particular material influences their concepts and resonates in as surface, it can be plastically deformed to create compound the art they create. This 11-week course will investigate primary shapes or it can be connected to most any other material. materials (clay, glass, concrete, paper, metal) and processes Students will explore the creative potential of this material in the of art making. We will explore the manipulation of these to find fabrication of sculptural forms. Students learn to weld using both meaning at this point in our evolution. Emphasis will be placed gas and electric arc machines as well as the safe operation of on individual student's investigation and experimentation. Each drilling, grinding and finishing tools. student will investigate these materials conceptually, physically Same as F20 ART 314I and emotionally in relationship to their own studio practice. Open to all Sam Fox graduate students with priority given to MFA Credit 3 units. Art: FAAM EN: H candidates. Sam Fox School undergraduates may enroll with permission of instructor. F20 ART 614J Sculpture: Art Practice (Material as Metaphor) Credit 1.5 units. All materials carry meaning. This course familiarizes students with the histories and fabrication processes intrinsic to F20 ART 6144 Matter in Hand Workshop sculpture. The course uses demonstrations and hands-on experiences -- primarily but not exclusively with metal and Same as F20 5144. Second-year MFAs (only) register for woodworking processes -- to show how such materials inform F20 6144. All materials and processes carry meaning, so the a studio practice. Lectures and techniques contextualize an choice of one material over another has an enormous impact understanding of preformed and found materials as formal on the celerity, power and resonance of your work of art. For and conceptual components that result in a final work of art. example, the record of the evolution of human consciousness In a critical environment, students formulate their own material is forever embedded in the artworks and text designed, made language and defend their art practice and creative decisions. and preserved in clay and paper. This course explores how Same as F10 ART 314J the work of the hand informs the work of the brain and how, together, these activities find meaning in the mind. Through Credit 3 units. Art: CDES, FAAM EN: H

18 Bulletin 2021-22 Graduate School of Art (09/09/21)

F20 ART 614K Sculpture Art Practice (Symbiosis) Same as F20 514K. Second-year MFA students (only) register F20 ART 615F Printmaking: Call and Response for F20 614K. This course explores numerous scenarios that In music, a call and response is a succession of two distinct create different levels of sculptural interactivity from low to phrases usually written in different parts of the music, where high tech. Students construct devices ranging from simple the second phrase is heard as a direct commentary on or in mechanisms to large-scale installations fostering physical, response to the first. Printmaking: Call and Response is a analogue or digital interaction between the viewer and the survey of printmaking with a foundation in traditional, historical, sculptural environment. Viewer-activated systems create multiple and philosophical aspects of printmaking. It will cover basic interactive platforms, initiating a responsive relationship between processes in intaglio, lithography, relief, and monotype. Students the sculpture and the viewer. Lectures, demonstrations and are encouraged to work in response to the history of the print, readings devise a broad understanding of the histories and with an emphasis on mixed media and experimentation. This potentials of symbiotic relationships between a work of art and its class counts for the minor in art. audience. Credit 3 units. Credit 3 units. Art: FAAM F20 ART 615H Printmaking: Art Practice (Feedback Loop: F20 ART 614N Sculpture: Art Practice (Itinerant Artworks) Process and Print) Who said you can't take it with you? Itinerant Artworks is a Same as F20 515H - Second-year MFAs (only) register for F20 course in which students create work in any medium that is 615H. This course focuses on variability, mutability, repeatability built for travel (not speed) and that can be set up, knocked and play within the process of printmaking, using etching, down, or installed in a variety of locations at a moment's notice. collagraph, monotype and digital methods. The course explores Students will document their work at a range of sites throughout practices and contexts in printmaking as a contemporary art form St Louis. For the final project, the class will stage an "off the grid" and promotes advanced conceptual and technical development outdoor exhibition in Forest Park. Typically, artworks are either through creative practice, readings, discussions and critiques. site-specific or are agnostic to their placement and location. Projects are self-directed and based on course topics that Itinerant Artworks proposes a third model, where an artwork engage different approaches to process-based work, ranging can be mobile, responsive, and highly adaptable to various from the improvisational to the systematic. Emphasis is placed environments or sites. Itinerant Artworks is intended to be a on the shift from object to process, from the single manifestation response to the current condition for making and viewing art. to the series, from fixed to flux and back again. Required for a Despite the unpredictable and ever-changing circumstances of concentration in printmaking. this moment, you can take it with you. Same as F10 ART 314N Credit 3 units. Credit 3 units. F20 ART 616 Printmaking F20 ART 615 Printmaking Same as F20 116, F20 216, and F20 416; juniors (only) register for F20 316. This course is a survey of printmaking that covers Same as F20 115, F20 215, and F20 415; juniors (only) register basic processes in intaglio, lithography, relief, and monotype. for F20 315. This course is a survey of printmaking that covers Emphasis is on mixed media and experimentation with a basic processes in intaglio, lithography, relief, and monotype. foundation in traditional, historical, and philosophical aspects of Emphasis is on mixed media and experimentation with a printmaking. Students are encouraged to work at a level suited foundation in traditional, historical, and philosophical aspects of to their individual technical skills and conceptual interests. printmaking. Students are encouraged to work at a level suited Same as F20 ART 316 to their individual technical skills and conceptual interests. Same as F20 ART 315 Credit 3 units. Art: FAAM EN: H Credit 3 units. Art: FAAM EN: H F20 ART 616G Printmaking: Art Practice (Extra-Dimensional F20 ART 615B Printmaking: Art Practice (Propaganda to Printmaking) Decoration) Pushing the boundaries of printmaking, prints move beyond the wall and into sculpture, installation, and time-based work. Relief, This course uses the print multiple as a starting point to silkscreen, and intaglio processes are explored with an emphasis explore a continuum that runs from propaganda to decoration. on print as theatre, object, and immersive environment. Through The fundamental attributes of the multiple, including its readings and discussions, students will engage with historical accessibility and repeatability, arc from private to public and precedents and contemporary principles that support the from political to aesthetic. Reproduction, distribution, urban creation of self-directed work that is extra-dimensional in communication, social space, intervention and site specificity are physical and conceptual scope. explored through course lectures, readings, and discussions. Same as F10 ART 316G Collaboration, exchange, and relational practices provide frameworks for self-directed projects using traditional and Credit 3 units. Art: CDES, FAAM alternative techniques in print media, including lithography, screen printing, stencils, and photocopy. This course is required F20 ART 616T Printmaking for Architecture and Art Students for the BFA in Art Printmaking Concentration. Prerequisite: This course will focus on monotype mixed media printmaking Printmaking Studio: Material and Culture. This course is open using both a press and digital print processes. The course to BFA and BA students who have taken the prerequisite and is designed to be responsive to current issues with a to other students, including minors and MFA students, with the focus on contemporary printmaking practices and various consent of the instructor. ideas about dissemination in the age of social media. Same as F10 ART 315B The course will include an examination of historical Credit 3 units. Art: FAAM EN: H examples of diverse global practices; prints made in periods

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of uncertainty, disruption, war, and disaster; and speculative F20 ART 617N Contemporary Portraiture projects by architects such as Superstudio, Zaha Hadid Same as F20 117N, F20 217N, and F20 417N; juniors (only) Architects and Archigram. Students will be expected to create register for F20 317N. Historically, portraits were painted of a series of work with a conceptual framework developing the royal or wealthy to document an accurate likeness and a personal visual language. to display status and power. However, with the advent of Same as F20 ART 316T photography, artists were freed to develop interpretations in Credit 3 units. Art: FAAM style, process, and medium. With subjects such as family, friends, strangers, celebrities, and the self, the portrait has been F20 ART 617H Photography: Art Practice (Methods of used to reflect culture, identity, and the relationship between the artist and the sitter. Issues of race, sexuality, gender, Distribution) vanity, and status continue to be relevant to contemporary Same as F20 517H - Second-year MFAs (only) register for F20 practice. This is primarily a drawing class; students combine 617H. One of the most effective aspects of the photographic the study of contemporary portrait artists with a studio practice image today is its speed. The way that physical and virtual that encourages the development of a unique voice. Students images are presented and distributed has changed significantly consider how pose, gesture, lighting, and other factors work since the initial branding of photography as the medium of together to support their intentions. Initial assignment prompts reproducibility. This class focuses on photography-based progress to guided independent pursuits. Students will be uses of the image through various distribution formats like the encouraged to experiment with image, materials, and processes. book, the poster, the newspaper, television, web, design, film, Live models will be used as well as other source material. apparel, architecture, music, etc. The students make, read, Same as F20 ART 317N look, listen, and experience 20th- and 21st-century photography Credit 3 units. Art: FAAM practitioners who engage a range of disciplines and methods of distribution as they try to synthesize methods/models of their own. Rigorous student project critiques are complemented with F20 ART 617P Drone Photography discussions, writing assignments, and readings on media theory This combination studio and discussion-based course examines and contemporary uses of photography outside of the traditional the use of small unmanned aerial systems (sUAS) — otherwise exhibition-based contexts. known as drones — as a photographic medium. Studio sessions Credit 3 units. EN: H will introduce students to sUAS operation, various editing platforms, and output strategies. Lecture and discussion sessions will examine FAA regulations, the ethical implications F20 ART 617L Photography: Art Practice (Constellations, of sUAS use by visual artists, and the rise of sUAS in the visual Sequences, Series) arts within the context of the history of aerial photography. All Same as F20 517L - Second-year MFAs (only) register for students will produce a body of work using drone capture as F20 617L. Series are the prevalent method for exhibiting the primary medium. In order to ensure equal access to sUAS, photographic images. Through assignment-based and self- students will be required to meet outside of class sessions. generated projects, students discover how photographic series Same as F20 ART 317P are conceptualized, structured and sequenced. Special attention Credit 3 units. Art: CPSC, FAAM EN: H is given to the material meaning embedded in print size, order and spatial placement. The course provides in-depth coverage of image capture through medium-format analog and full-frame F20 ART 617Q Context, Curation, Communication: Seriality digital systems as well as intermediate digital editing and printing in the Photographic Image techniques. Students also explore various documentary and set- Series and sequences are the prevalent method for exhibiting up strategies through narrative and non-narrative photographic photographic images. Through assignment-based and self- approaches. Through a rigorous critique structure, course generated projects, students discover how photographic readings and critical writing, students engage the historical series are conceptualized, structured, and sequenced. Special discourse surrounding the series as a tool for artistic expression. attention is given to the material meaning embedded in print Credit 3 units. size, order, and spatial placement. The course provides in- depth coverage of image capture through medium-format analog and full-frame digital systems as well as intermediate digital F20 ART 617M Architecture Through the Photographic Lens editing and printing techniques. Students also explore various Same as F20 117M, F20 217M, and F20 417M; juniors (only) documentary and setup strategies through narrative and non- register for F20 317M. Photography offers ways of seeing and narrative photographic approaches. Through a rigorous critique representing the world around us. This course provides technical structure, course readings, and critical writing, students engage and conceptual frameworks for understanding architectural the historical discourse surrounding the series as a tool for space as seen through the camera. Topics include the building artistic expression. as site, landscape as context, and the architectural model as Credit 3 units. a representation tool. Students are introduced to a wide range of artists and architects, which helps them to build a unique camera language to support their individual projects. Students F20 ART 617R Art Practice: Photography (Black-and-White will learn DSLR camera basics, fundamentals of Photoshop, Master Printing) digital printing techniques, and studio lighting for documenting This course offers an introduction to black and white master architectural models. The course assumes no prior experience printing techniques for analog and digital outputs. The first part of with digital imaging technologies or materials. Digital camera the course will focus on advanced darkroom techniques, as well required. as the use of developers, papers, and toners. The second part Same as F20 ART 317M of the course will cover advanced digital b/w strategies, including Credit 3 units. Art: FAAM quadtone RIPs, specialty papers, and Photoshop workflows. In addition to technical demonstrations, course lectures will

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look at the role master printers have played in the history of Same as F10 ART 318P photography. Visits to the Mildred Lane Kemper Art Museum Credit 3 units. Art: CDES, FAAM and The St. Louis Art Museum print rooms will compliment lectures and activities. All students will develop a portfolio of personally-driven work in black and white. Required for the BFA F20 ART 618Q Photography: Art Practice (A Sense of Place in Art Photography Concentration. Prereq: Photography Studio: or Understanding Place Through Photography) Material and Culture. Open to BFA and BA students who have This course explores the concept of "place" and the cultural taken the prerequisite, and others, including minors and MFA implications that accompany the definitions of "place." Working students, with consent of instructor. with photography and taking inspiration from the fields of Same as F10 ART 317R geography, environmental studies, urban design and cultural Credit 3 units. anthropology, this course considers how a relationship to place is constructed. We will also consider displacements throughout history and value systems embedded in the construction of F20 ART 618J Photography: Art Practice (Slow Image: Large a sense of place. Is one's relationship to place personal? Format Photography) Is it collective, is it cultural, is it rooted in the surrounding Same as F20 518J - Second-year MFAs (only) register for F20 environment? What are the marks that define a sense of place, 618J. This course provides an in-depth study of the large format and is there residue or lingering evidence that can be perceived? analog camera and its unique formal position. Using the 4"x5" The medium of photography has unique capacities to address format, students examine this slow, high fidelity photographic these questions. This studio course builds knowledge through medium both technically and conceptually. Students employ a photographic practice with accompanying readings, seminar comprehensive photographic process, including loading sheet discussion and guided assignments. Students will participate film, applying the zone system, scanning large format film, in an active process of exploring diverse concepts of place in editing digital images, and creating large format digital inkjet relationship to the built environment. Students will be introduced prints. Class activities include rigorous student project critiques, to a range of ways of making and thinking about the subject as well as reading and discussion elements focusing on the of place, including looking at place as site, as geography, as history of large format and its contemporary descendants in the memory, as non-place, as urban space, as rural space, as Dusseldorf School, abstract photography and installation art community, and as ecological site. No formal photographic contexts. Class participants investigate the role of high fidelity training is necessary. Students will be introduced to the basics of images. Assignments may address portraiture, still life, interior camera operation, Photoshop and Lightroom software for editing and exterior architecture, landscape, and abstract photography. and the fundamentals of digital print output for fine art printing Large format 4"x5" cameras will be available for use. will be covered. Credit 3 units. EN: H Same as F10 ART 318Q Credit 3 units. Art: CDES, FAAM F20 ART 618K Photography: Art Practice (Documentary Photography & Social Practice) F20 ART 619 Ceramics Same as F20 518K - Second-year MFAs (only) register for Same as F20 519 - Second-year MFA students (only) register for F20 618K. This course focuses on the various philosophical, F20 619. An introduction to the design and making of functional aesthetic and technical approaches to photographing the pottery as well as sculptural objects. Students learn basic contemporary, human-altered landscape and the communities forming processes of the wheel, coil and slab construction. we live in. Through slide lectures, field trips, in-depth critique While the emphasis is on high-fired stoneware, students will and supervised lab work, students are expected to increase their be introduced to Raku and soda firing. Content and advanced awareness of how their own personal responses relate to those processes and skills are encouraged according to the individual's of other photographers with the same contemporary issues of level. documentary photography. A project-based seminar focusing on Credit 3 units. EN: H objectivity of the photographic document. Credit 3 units. Art: FAAM F20 ART 619J Structural Ceramics This course is designed for advancing study in 3D practices F20 ART 618P Photography: Art Practice (Art, Environment, within clay processes and in sculpture. Several techniques in Culture & Image) clay will be explored, and hand-building will be emphasized. The medium of photography offers multiple ways to engage with Methods of creating will include coiling, slab building, casting, critical social, political and environmental issues. Throughout and subtractive modeling. In this course, we will understand this course, a wide range of photographic tools and modes of and research clay as a material that engages in structure and production will be explored, including digital and film-based introduces new sculptural ideas that define scale, balance, materials and a variety of printing techniques. The course will form, and so on. Surface design with cold finishes and glazes, also consider the integration of alternative methods of lens- firing processes, and mold making will be explored as means of based communication and working to construct images within building and finishing content. Discussions and presentations relevant contexts of meaning. Through presentations and will focus on the history and contemporary traditions of ceramic readings, students will be introduced to a range of contemporary structures and sculptures. Emphasis will be placed on the critical artists working with essential topics such as climate change, assessment and articulation of material. ecological sustainability, energy production and extraction, and Same as F20 ART 319J the human body and technology. Students will work to build a Credit 3 units. Art: FAAM final and self-directed project identified through their ongoing research and image production. Required for the BFA in Art photography concentration. Prerequisite: Photography Studio: Material and Culture.

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F20 ART 620 Ceramics Same as F20 120, 220, 420. Juniors (only) register for F20 320. F20 ART 628E Making Documentaries in the Time of Covid An introduction to the design and making of functional pottery Documentary video is a powerful tool to spotlight the frustrations as well as sculptural objects. Students learn basic forming and triumphs of our daily lives. Unlike fiction films, the processes of the wheel, coil and slab construction. While the inquiry and the questions that start the process of making a emphasis is on high-fired stoneware, students will be introduced documentary end up as an adventure and often the film itself. to Raku and soda firing. Content and advanced processes and Many filmmakers discover unexpected answers, reveal hidden skills are encouraged according to the individual's level.An histories, humanize previously one-dimensional characters, and introduction to the design and making of functional pottery spotlight even more in-depth questions. The global pandemic as well as sculptural objects. Students learn basic forming offers a unique opportunity to create videos that acknowledge processes of the wheel, coil and slab construction. While the this moment, with the potential to become a significant part emphasis is on high-fired stoneware, students will be introduced of an international conversation. Even beginning filmmakers to Raku and soda firing. Content and advanced processes and can give voice to issues that will be included in the historical skills are encouraged according to the individual's level. record. Students will learn about or improve their cinematic Same as F20 ART 320 aesthetics and professional video editing skills by making three Credit 3 units. Art: FAAM EN: H short videos. Same as F20 ART 328E F20 ART 625J Sculpting Realities Credit 3 units. Art: CPSC, FAAM This course investigates new digital technologies -- particularly mixed, augmented, and virtual reality -- through the F20 ART 629C Time-Based Media: Art Practice (Mediated consideration of one critical question: "What does it mean to Performance) be real?" Students will learn the basics for making works of Same as F20 529C - Second-year MFAs (only) register for F20 art, design, and architecture in alternative realities through 629C. This course explores the body as a time-based medium 3D scanning, 3D modeling, and immersive world building. In and a vehicle of expression that interacts with cinematic and addition to tutorials and multidisciplinary collaborative studio sound technologies, undergoing gradual semantic, virtual and projects, students will investigate issues of reality and the visceral transformations. Students create performance-based use of alternative reality tools through readings, discussions, video and sound works that are mediated with electronic/digital presentations, and other dialogues. The semester will culminate technology and performed or screened in public. Collaborative, in a final project that translates a physical experience or artifact individual political and poetic actions and happenings are into a digital one. encouraged. Students focus on the production of conceptually Same as F20 ART 325J rigorous and technically convincing work that embodies their Credit 3 units. Art: FADM performative, experimental and individually designed ideas. Projects are informed by readings in media theory, writing F20 ART 627A History of Photography assignments, and active participation in critiques of works by Same as F20 527A - Second-year MFAs (only) register for contemporary media artists. F20 627A. Survey of the history of photography and a look Credit 3 units. EN: H at the medium from the camera obscura to contemporary developments. Social and technological developments examined F20 ART 629L Time Based Media: Art Practice (Expanded in terms of their influence on the medium. Cinema) Credit variable, maximum 6 units. EN: H By focusing on experimental approaches to digital filmmaking, this course offers opportunities for independent producers that F20 ART 628A History of Photography arise from hybrid media interests. The course encourages and Same as F20 528A - Second-year MFAs (only) register for supports a variety of cinematic concepts, from non-narrative to F20 628A. Survey of the history of photography and a look documentary and activist approaches. Instruction will encompass at the medium from the camera obscura to contemporary technical, conceptual, and creative skills for taking an individually developments. Social and technological developments examined conceived project from idea to fruition. in terms of their influence on the medium. Same as F10 ART 329L Credit variable, maximum 6 units. Art: FAAM EN: H Credit 3 units. Art: CDES, FAAM, FADM

F20 ART 628C Documentary Film F20 ART 630I Time-Based Media: Art Practice (New Media in This course investigates techniques of powerful nonfiction filmic Art) storytelling that symbiotically merges visual and literary narrative Same as F20 530I. Second-year MFAs (only) register for F20 devices. We will explore the organic process of research, 630I. Exploring the intersection of art and technology, the course interaction and craft to construct three short films. Students will focuses on the phenomenon of time as an artistic medium and be encouraged to go beyond apparent subject matter to inquire as the subject of work. Through the production of time-based into deeper/underlaying content that touches on timelessness works in a virtual realm, students learn about compositional and global/human topics. Within set parameters, students choices, narrative and non-narrative strategies, and ethical and choose their own filmic topics and structures. Graduate and political responsibilities that artists and artist collectives face in undergraduate students can form teams or work independently the 21st century. Students gain exposure to selected software as their own producer, writer, director, cinematographer, editor as it pertains to their individually designed projects. Readings, and sound recordist. No previous experience required. writing assignments and an active participation in critiques of Same as F20 ART 328C works by contemporary new media artists will be part of this Credit 3 units. Art: FAAM seminar.

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Credit 3 units. Art: FAAM F20 ART 635K Animated Worlds This course explores traditional and experimental 3D animation F20 ART 630L Time-Based Media: Art Practice (Expanded in a short film format. Beginning students will learn polygon and NURBS modeling, texturing, lighting, rigging props, and Cinema) characters in Maya. A storyboard, animatic and final rendered By focusing on experimental approaches to digital filmmaking, short will be developed for two major projects. Advanced skill this course offers opportunities for independent producers arising sets include development, character design, 3D modeling, from hybrid media interests. Expanded Cinema encourages and rigging, visual effects, sound, and rendering. No prerequisites supports a variety of cinematic concepts, from non-narrative to or previous experience required. This course can be taken documentary and activist approaches. Instruction will encompass multiple times at either the beginner or advanced level, and it technical, conceptual and creative skills for taking an individually is open to students of all levels across the university. Graduate conceived project from idea to fruition. and advanced students can build independent projects with Same as F10 ART 330L permission of the instructor. Credit 3 units. Art: CDES EN: H Same as F20 ART 335K Credit 3 units. Art: FADM F20 ART 633K The Illustrator's Sketchbook The sketchbook has long been seen as the artist's personal F20 ART 636A Interaction Design: Understanding Health and playground. In this course, students will be making images that Well-Being explore concepts and visual narratives--but the raw materials for these illustrations will come from exploration inside the pages of Same as F20 236A and F20 436A; juniors (only) register for their sketchbook. This course will develop a discipline of daily F20 336A. Through a blend of presentations from practitioners, drawing. In addition to sketchbook work, project assignments classroom lectures, readings, discussions, and hands-on will include both conceptual and applied projects like illustrated exercises, this course will engage principles and methods book jackets and short stories. Significant time will be spent in of interaction design within the context of health challenges. media exploration, development of technique and professional Broadly defined, interaction design is the practice of designing practices. products, environments, systems, and services with a focus Same as F10 ART 433K on behavior and user experience. We will take on an in- depth challenge in the area of health and well-being and work Credit 3 units. Art: CDES in cross-disciplinary design teams with an external partner organization. Students will gain experience in planning and F20 ART 633L Applied Illustration executing a human-centered design process that features This course will explore drawing and conceptual development research, ideation, synthesis, concept development, prototypes, in the landscape of professional picture-making and illustration. and a final presentation, which may include visual design, Using the lens of an applied professional process, students will animation, and sound. Students will work in teams to develop make work that explores and establishes an artistic viewpoint. several intermediate project deliverables, such as prototypes Focused research, idea development, formal experimentation, and sketches. No prior course work is necessary, although and class critique are vital to these goals. Using this contextual experience with Adobe Photoshop, Illustrator, and InDesign is practice, students will advance toward the development of an helpful. individual voice. This course is applicable to anticipated career Same as F20 ART 336A directions in image making, illustration, comics, picture books Credit 3 units. Art: CPSC, FADM EN: H and visual storytelling. Prerequisite: Communication Design: Word & Image II or permission of instructor. F20 ART 636J Introduction to Animating in Three Same as F10 ART 433L Credit 3 units. Art: CDES, FADM Dimensions Same as F20 536J - Second-year MFA students (only) register for F20 636J. This course explores 3D animation in the short F20 ART 635J Introduction to Animating in Three film format. Students move from an overview of the process Dimensions and visual vocabulary of animation to defining filmic ideas, the Same as F20 535J - Second-year MFAs (only) register for F20 visual gag, and character-driven content. Cinematic shot design, 635J. This course explores 3D animation in the short film format. timing, character design, and sound design are studied for Students move from an overview of the process and visual determining the most effective means of communicating desired vocabulary of animation to defining filmic ideas, the visual gag, content. Hand drawn sketches are imported into a 3D animation and character-driven content. Cinematic shot design, timing, program as the basis to model and animate characters, create character design, and sound design are studied for determining settings, and add special effects. An animated sequence is the most effective means of communicating desired content. produced to show evidence of personal inquiry and level of Hand-drawn sketches are imported into a 3D animation program expertise. as the basis to model and animate characters, create settings, Credit 3 units. EN: H and add special effects. An animated sequence is produced to show evidence of personal inquiry and level of expertise. F20 ART 636K Communication Design II Prerequisite: Drawing or equivalent or permission of instructor. Same as F20 536K - Second-year MFAs (only) register for F20 Credit 3 units. EN: H 636K. This course continues the elements of communication design in a more professional context. Students will advance their understanding of concept development and visual execution. They will also examine contemporary professional work in the field and will be introduced to the business of the profession, including work with clients. Course work will integrate

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fundamental design skills with business presentations and to the Olin Library Special Collections. Using the materials and team-based projects. The final course assignment will come equipment in the Kranzberg Book Studio, students will work from an external firm. Students will work in groups and make a with the instructor to explore the origination and shaping of professional presentation to the client. content through form. Letterpress, alternative print process, Credit 3 units. EN: H and bookbinding techniques will be covered. Open to all Sam Fox graduate students with priority given to MFA candidates. Sam Fox School undergraduates may enroll with permission of F20 ART 636L Animated Worlds instructor. Prerequisites: none. This course explores traditional and experimental 3D animation Credit 1.5 units. in a short film format. Beginning students will learn polygon and NURBS modeling, texturing, lighting, rigging props, and characters in Maya. A storyboard, animatic and final rendered F20 ART 647T Artist's Book short will be developed for two major projects. Advanced skill This course will examine the role of the book as an artifact of sets include development, character design, 3D modeling, material culture. We will investigate definitions of the artist's book rigging, visual effects, sound, and rendering. No prerequisites and current uses of the book form as metaphor in contemporary or previous experience required. This course can be taken art. We will look at the work of artists such as Anselm Kiefer, multiple times at either the beginner or advanced level, and it Ann Hamilton, Rachel Whiteread, Kiki Smith, William Kentridge, is open to students of all levels across the university. Graduate Sophe Calle, Dieter Rot, and many others. In addition, we will and advanced students can build independent projects with look at the role of artist's books and publications in many 20th- permission of the instructor. century artistic movements. Course projects will center around Same as F20 ART 336L the exploration of various types of editioned artworks, such as Credit 3 units. Art: FADM artist's multiples, mail art, zines, and more. Same as F20 ART 347T F20 ART 6444 The Art of Community Engagement Project Credit 3 units. Same as F20 5444 - Second-year MFAs (only) register for F20 6444. This course consists of a public art project completed F20 ART 651A Sound Environments in association with underserved communities in St. Louis. This course explores sound and musical composition in a digital Works of art will be proposed and executed during the course's format, functioning as a sculptural, spatial, psychological, and duration. Students will engage with various communities in architectural intervention. The course offers an introduction to creative collaborative research and thinking, resulting in work, current sound art practices and examines how sound projects which reflects and honors the cultural aesthetic and ecological are capable of altering our sense of space and time. Sonic space values of the specific community. Each student will present their necessarily touches upon experimental music and installation art concepts to a committee from the institution. Each student will be as closely related to sound art. The course introduces students given a modest budget to support the production and installation to basic methods of sound recording and editing software and of their work. Course will involve guest speakers, individual hardware, with the goal of composing sound works for space and research, site visits and group discussions. for headphones. Readings pertaining to current developments Credit 1.5 units. in contemporary experimental music and sound art as well as regular writing assignments accompany the course. Same as F20 ART 351A F20 ART 6445 Art & Community Engagement Credit 3 units. Art: FAAM EN: H This 11-week course consists of public art projects completed in association with underserved communities in St. Louis. Works of art will be proposed and executed during the course's duration. F20 ART 652B Performing Solitude Students engage with communities in creative collaborative Performing Solitude is a new elective studio with elements research and thinking, which results in works that reflect and of a seminar, and it is open to students from across campus honor the cultural aesthetic and ecological values of the specific and suited most for upper-level undergraduates and graduate community. Each student will be given a modest budget to students in art, architecture, performing arts, music, and film & support their concept. The course involves guest speakers, media studies departments. Performing Solitude invites students individual research, site visits, and group discussions. who are interested in creating interdisciplinary works that merge Credit 1.5 units. performance art with other forms of expression, including visual, digital, acoustic, textual and cinematic. Working with their own performing selves as a material in their art -- and with domestic F20 ART 644A Animation Tools and Methods or landscape space -- students will be invited to reconsider This course introduces a range of digital and analog production what performance art means in the age of a post-global, post- techniques for the practice of animation. It will also present pandemic and post-digital universe in which the biological fundamental concepts and issues that define this creative form. environment, including nature and their own bodies as part of Prerequisite: Digital Studio or permission of instructor. it, continues to enact gestures and make aesthetic statements Same as F20 ART 344A set against global histories. This studio incorporates elements Credit 3 units. Art: FAAM, FADM of a seminar by way of discussing histories of performance art, performativity, and rituality as well as by supportong individually F20 ART 6461 BookLab guided research and collaboration. During the semester, Same as F20 5461. Second-year MFAs (only) register for students will create two major performance-based works that F20 6461. This course will address several alternative forms incorporate other media of choice, such as film, music, text, or of the book and the effect they have on shaping content. We installation. Student work will be documented and demonstrable will pay particular attention to the concept of authorship in contemporary artists books, which will be supported by visits

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in their portfolios. Several smaller improvised or in-class F20 ART 675 Readings in Visual and Material Culture assignments will lead toward a final project accompanied by an "No ideas but in things." Taking as a point of departure this artist text. Readings, lectures and invited guests will accompany famous line from a William Carlos Williams poem, which is this studio. often said to express the poet's commitment to a creative Same as F20 ART 352B practice rooted in tangible things (as opposed to abstractions, Credit 3 units. Art: FAAM formalism, a given subject matter or politics, and so on), this course explores the idea/thing relationship as it has come to be F20 ART 662 Why Art Matters understood in the past century. Studying influential theories of This lecture and discussion course will examine how art, which visual and material culture, this course will engage historical, productively utilizes ambiguity and discontinuity, is a distinctive theoretical, and creative texts by Marx, Baudrillard, Bourdieu, form of expression and communication. Functioning not as Sontag, and others alongside concrete visual and material a bearer of meaning but rather as a shaper of meaningful objects. Students will produce responsive writing and conduct questions, art invites interpretation and introspection. As such, individual research. art -- which often functions to rekindle perception and give rise to Credit 3 units. new ways of thinking about and being in the world -- empowers individual thought, encourages empathy, and celebrates the F20 ART 678 Contemporary Discourses: Art + Feminism diversity of ideas and opinions that are vital to conditions of This course investigates the impact of feminism on contemporary freedom. With this in mind, multimedia lectures will explore the art, focusing on artwork produced between the 1960s and the perspectives of contemporary artists (e.g., James Turrell, Cerith present day. Through an examination of global practices in Wyn Evans, Wangechi Mutu), psychologists (e.g., Winnicott, a wide range of media, including artworks in the university's Frankl, Freud), philosophers (e.g., Heidegger, Bataille, Merleau- Kemper Museum collection, students will delve into innovative Ponty), linguists (e.g., Lacan, Pierce, Saussure), sociologists, aesthetic strategies that criticize assumptions of gender, race cognitive scientists, cultural theorists and others. In addition, and social class and consider the intricate tie between the readings, discussions, in-class group interpretations and written identity of the author and the content of the work. This course critical analysis will provide students with the tools required to is taught by a practicing artist, who together with the students understand how art, which is a distinctive form of expression will uncover historical developments and epic omissions. This and communication, matters; it matters, as Bill O' Brien argues, is a lecture course with a discussion component. Requirements because it teaches us how we matter. include participation in weekly discussion sections, regular Same as F20 ART 362 response papers, and a final written curatorial project. No Credit 3 units. Art: VC EN: H prerequisites in Art or Art History required. Same as F20 ART 378 F20 ART 663 Thesis Seminar: Giving Form to Opinions Credit 3 units. Art: CPSC, FAAM EN: H This seminar provides second-year students in the Graduate School of Art with the opportunity to respond to critical positions F20 ART 6783 Special Topics in Visual Culture: Introduction in modern and contemporary art practice. The course uses to Illustration Studies touchstone issues to sharpen the student's skills in research and Same as F20 5783 - Second-year MFAs (only) register for analysis and to accustom the students to writing on a regular F20 6783. How have knowledge, opinion, and feeling been basis. Writing assignments and presentations throughout the communicated visually from the advent of automated printing semester — based on assigned critical readings — will help presses to the invention of the internet, and to what effect? prepare the student's critical positions with respect to their thesis Using concepts in visual studies and communication studies, projects. this course explores the histories of primarily American visual- Credit 3 units. Art: GFAH verbal texts to investigate how minds and hands conceived, produced, distributed, and consumed illustrated print media in F20 ART 6713 Introduction to Book Binding the 19th and 20th centuries. Beginning with the neurological Same as F20 1713, F20 2713, and F20 4713; juniors (only) basis of vision, we will examine ways culture affects perception, register for F20 3713. This course will serve as an introduction to how print technologies shape content, how word and image the book as an artifact of material culture. A variety of traditional rhetorically shape beliefs, how power relations imbue images and non-traditional book structures will be explored. Students and publishing, and the ways counterculture forms such as will learn from historical approaches to constructing the codex caricature and posters can be used to intervene socially. form, including the single-signature pamphlet, the multi-signature Students will conduct original research using University Libraries case binding, the coptic, and the medieval long stitch. Students Special Collections to hone their ability to write convincingly and will learn Japanese binding and its many variations. Several professionally about imagery. No prerequisites; counts toward contemporary variations will be introduced, including the tunnel, design minor. the flag book, the accordion, and the carousel. Students will Credit 3 units. explore the visual book using found imagery and photocopy transfers, and they will produce a variety of decorated papers to F20 ART 6851 Art-ivism be used in their bindings. Same as F20 5851. Second-year MFAs (only) register for Same as F20 ART 3713 F20 6851. What is art-ivism? It seems appropriate that a new Credit 3 units. Art: FADM EN: H word be invented to identify strategies used by artists to raise questions and seek answers to some of the most pressing issues of our day. This workshop is a series of conversations, readings, and brainstorming sessions for graduate students whose studio practice touches on the intersection of art and the political. We will begin with questioning and seeking answers

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in the studio that then generate more questioning. What Kranzberg Book Studio, students will work with the instructor does this historical and geographic moment in time signify to explore the origination and shaping of content through for each of us as individuals and as members of a collective form. Letterpress, alternative print process, and bookbinding community? As individuals, we stand in our own truths, and techniques will be covered. this can be empowering. As artists, how can we activate our Credit 1.5 units. passions toward actuality, and how can this be contagious for our "audience" through the actions and objects generated from our studio practice? What challenges does activist art present in your studio? Is art a mirror of culture, or can it be a producer of culture? Does art have the power to change culture? Can artists be agents of history? To culminate this workshop, graduate students will present their work as aligned with contemporary issues and as an open inquiry to how their studio practice may be a tool for social change. Open to all Sam Fox graduate students, with priority given to MFA candidates. Credit 1.5 units.

F20 ART 685B Beyond Words, Beyond Images: Representation After History The seminar focuses on art in the public domain and examines contemporary practices that engage public memory and the meta-city. Prompting students to consider their own practice in the context of public space, the seminar offers examples of projects that contribute to global cultural and political discourse. Weekly illustrated lectures, readings, writing assignments, screenings, discussions, and individual research lead toward the final term paper. Individual studio consultations serve as a platform for the discussion of students' evolving practice, leading toward the final project in a medium of choice. MFA VA students and graduate students in architecture are especially welcome. This is an upper-level course open to juniors, seniors, and graduate students only. Same as F20 ART 385B Credit 3 units. Art: FAAM, GFAH, VC

F20 ART 685D Art Seminar: Fantastic Voyage and Scales of Wonder Affective encounters with scale -- encounters that make us aware of our bodies in relationship to the world around us -- occur broadly throughout human experience, from viewing miniature particles through the lens of a microscope to wandering through monumental architectural environments. Undeniably, scale and affect are integral to the lived experience and to the ways in which art, design and the built environment have developed over the past half century. Through lectures, discussions, and critical readings, Fantastic Voyage and Scales of Wonder will examine scale as a central theme to explore our encounters with built environments and designed objects alike. Readings and discussions will span media archeology and affect theory. This seminar will also examine the impact of such works as Charles and Ray Eames's 1968 documentary "The Powers of Ten" and the 1966 cult film "Fantastic Voyage" (which inspired Isaac Asimov's science fiction novel of the same name) on art, design and architecture today. Same as F20 ART 385D Credit 3 units. Art: FAAM, FADM

F20 ART 692A BookLab Same as F20 592A. Second-year MFAs (only) register for F20 692A. This course will address several alternative forms of the book and the effect they have on shaping content. We will pay particular attention to the concept of authorship in contemporary artists' books, which will be supported by visits to the Olin Library Special Collections. Using the materials and equipment in the

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