I Certify This Catalog Is True and Correct in Content and in Policy. 11/15/2020

I certify this catalog is true and correct in content and in policy.

11/15/2020

Academic Catalog 2020-2021

Published 7/1/20

TABLE OF CONTENTS

 About MassArt page 4-5  Academic Calendar page 6-7  Academic Policies page 8-23  Programs, Faculty, Requirements page 24-82  Courses page 83-349  Registrar page 350  Continuing Education page 351  Tuition and Fees page 352-358  Student Financial Assistance page 359  Campus Resources page 360-361  Community Standards page 362-375  Campus Map page 376

About MassArt

Mission Statement

Massachusetts College of Art and Design is a public, independent institution that prepares artists, designers, and educators from diverse backgrounds to shape communities, economies, and cultures for the common good.

Values

We pursue a just, compassionate, and equitable learning environment.

We cultivate rigorous creative practices by observing, questioning, making and remaking.

We honor courage, honesty, mutual respect, and self-expression.

We believe in the power of art and design to transform our world.

History of Massachusetts College of Art and Design

In the 1860s, civic and business leaders whose families had made fortunes in the China Trade, textile manufacture, railroads, and retailing, sought to influence the long-term development of Massachusetts. To stimulate learning in technology and fine art, they persuaded the state legislature to found several institutions, including the Massachusetts Institute of Technology (1860) and the Museum of Fine Arts (1870). The third of these, founded in 1873 was the Massachusetts Normal Art School. MassArt was created to satisfy two imperatives - a business demand for industrial drawing skills, and the belief of educators that training in drawing could promulgate both manual and intellectual skills, and yield even spiritual benefits. As crafted by its two founders, English art educator Walter Smith and Boston Brahmin arts impresario Charles Callahan Perkins, the new institution would produce drawing teachers required in schools throughout the Commonwealth, while at the same time educating professional artists, designers, architects, and scientists. The goal would be to educate men and women in the creative process, not merely train them to draw. It would "impart knowledge," Smith wrote, of "how to draw, not how to make drawings." He explained, "The process of drawing makes ignorance visible; it is a criticism made by ourselves on our perceptions, and gives physical evidence that we either think rightly or wrongly, or even do not think at all." Its roots in the economic and cultural dimensions of the Commonwealth ensured that the college would evolve with the times. Size and Scope

Massachusetts College of Art and Design provides state-of-the art facilities and studios housed in nine buildings along Huntington Avenue in the Fenway neighborhood of Boston, close by the Museum of Fine Arts and the Isabella Stewart Gardner Museum. The college offers twenty- two areas of concentration in fine arts, design and art education, and awards one undergraduate degree, the Bachelor of Fine Arts, and graduate degrees including the Master of Fine Arts, the Master of Art in Teaching, Master of Education, Master of Design Innovation, and the Master of Architecture. The college also offers certificate programs in Communication Design, Fashion Design, Furniture Design, and Industrial Design. The Fall 2019 undergraduate enrollment was 1780, graduate enrollment was 128 and continuing education enrollment was 187. MassArt is a Massachusetts state university and receives support from the Commonwealth of Massachusetts. There are differentiated tuition charges for in- state and out-of-state students. Massachusetts College of Art and Design holds accreditation from the New England Association of Schools and Colleges and from the National Association of Schools of Art and Design.

Accreditation and Board of Trustees

Accreditation Massachusetts College of Art and Design is accredited by the New England Commission of Higher Education, Inc. (NECHE), through its Commission on Institutions of Higher Education. MassArt is an accredited institutional member of the National Association of Schools of Art and Design (NASAD), and by the National Architectural Accrediting Board.

New England Association of Schools and Colleges Commission of Institutions of Higher Education 209 Burlington Road Bedford, MA 01730-1433 (781) 271-0022 [email protected]

National Association of Schools of Art and Design 11250 Roger Bacon Drive, Suite 21 Reston, VA 20190-5248 703-437-0700 [email protected]

National Architectural Accrediting Board 1101 Connecticut Avenue, NW, Suite 410 Washington, DC 20036 [email protected]

Board of Trustees Janice Saragoni - Chair Elisa Hamilton '07 - Vice Chair C. Daren Bascome '93 John Intoppa '23 Karen Keane Denise Korn M. David Lee Bill McQuillan Pamela Parisi '67 Peter Nessen Linda Snyder

2020-2021 ACADEMIC YEAR

Date From Date To Title

5/23/2020 Start of Summer 2020 Term

5/25/2020 Memorial Day -No Classes, Offices Closed

7/4/2020 Independence Day-No Classes

8/31/2020 End of Summer 2020 Term

9/1/2020 Opening Day-No Classes - Fall 2020

9/2/2020 Classes Begin-Add/Drop Begins-Fall 2020

9/7/2020 Labor Day-No Classes, Offices Closed

9/15/2020 Add/Drop and Internship Deadline-Fall 2020

9/16/2020 Course Withdrawal Period Begins

9/23/2020 Spring and Summer 2020 Incomplete Grade Deadline

9/25/2020 1st Academic Warning Due -Fall 2020

10/2/2020 1st Academic Warning Issued to Students-Fall 2020

10/2/2020 December 2020 Intent to Graduate Applications Due

10/12/2020 Indigenous People's Day-No Classes, Offices Closed

11/3/2020 No Classes Scheduled-Fall 2020 (BFA and GRADUATE)--Election Day

11/6/2020 2nd Academic Warning Due- Fall 2020

11/9/2020 Spring 2021 BFA Major Registration by Class Begins

11/11/2020 Veteran's Day-No Classes, Offices Closed

11/13/2020 2nd Academic Warning Issued to Students- Fall 2020

11/13/2020 May 2021 Intent To Graduate Forms Due

11/16/2020 Spring 2021 BFA Open Registration by Class Begins

11/17/2020 Last Day to Withdraw from Fall 2020 Classes

11/25/2020 -11/29/2020 Thanksgiving Break-No Classes, Offices Closed

11/30/2020 -12/23/2020 24 Hour Access-Fall 2020

12/16/2020 Last Dat of Classes - Fall 2020 (BFA and GRADUATE)

12/17/2020 -12/23/2020 Final Exam/Review Board Week- Fall 2020

12/24/2020 -1/1/2021 Winter 2020 Break-No Classes

1/2/2021 -1/17/2021 2021 Winter InterSession

1/4/2021 Fall 2020 Final Grades Due

1/18/2021 Martin Luther King Jr. Day-No Classes, Offices Closed

1/25/2021 Classes Begin-Add/Drop Begins-Spring 2021

2/5/2021 Add/Drop and Internship Deadline-Spring 2021

2/6/2021 Course Withdrawal Period Begins-Spring 2021

2/10/2021 Fall 2020 Incomplete Grade Deadline

2/19/2021 1st Academic Warning Due -Spring 2021

2/15/2021 President's Day-No Classes, Offices Closed

2/26/2021 1st Academic Warning Issued to Students -Spring 2021

3/24/2021 No Classes Scheduled-Spring 2021 (BFA and GRADUATE)

3/25/2021 2021 MassArt Day

3/29/2021 Fall 2021 BFA Major Registration by Class Begins

4/2/2021 2nd Academic Warning Due - Spring 2021

4/5/2021 Fall 2021 BFA Open Registration by Class Begins

4/6/2021 No Classes Scheduled-Spring 2021 (BFA and GRADUATE)

4/9/2021 2nd Academic Warning Issued to Students-Spring 2021

4/15/2021 Last Day to Withdraw from Spring 2021 Classes

4/19/2021 Patriot's Day-No Classes, Offices Closed

5/2/2021 -5/19/2021 24 Hour Access-Spring 2021

5/7/2021 No Classes Scheduled-Spring 2021 (BFA and GRADUATE)

5/10/2021 Last Day of Classes -Spring 2021

5/11/2021 -5/19/2021 Exams and Review Boards

5/14/2021 Spring 2021 First Year Grades Due

5/19/2021 24 Hour Access Ends-Spring 2021

5/20/2021 Academic Awards Ceremony - 2021

5/21/2021 Commencement-Spring 2021

5/21/2021 Spring 2021 FRSM-100 and LALW-100 Grades Due

5/24/2021 Spring 2021 Final Grades Due

Academic Policies Academic Warnings

Two academic warnings are issued each semester. Students in danger of not passing a course may receive a warning from the appropriate faculty member. Students are advised to seek assistance from their faculty advisor and/or the director of advising. However, students who do not receive an academic warning are not assured of a passing grade. Regulations

Each student enrolled at Massachusetts College of Art and Design is subject to the rules and regulations published on the MassArt web site. These rules and regulations are updated as necessary.

College Level Examination Program (CLEP)

A student may receive up to six (6) non-course credits from CLEP exams toward general education electives. The CLEP exam score must be at least the score recommended by the American Council on Education (ACE).

Commencement Participation Policy

Students need to complete a minimum of 120 credits and to meet departmental/ concentration requirements for the BFA degree. At least 60 credits must be earned at the college or its exchange and cross-registration partners.

Only students who have met all requirements for graduation, or who have an approved exception, may participate in the commencement ceremonies.

Diplomas are typically mailed from the Registrar's Office by the end of the summer or when final degree requirements are met.

A student receiving a failing grade in a Spring semester course required for graduation must fulfill that requirement before receiving a diploma.

Exceptions to graduation requirements for the purpose of participating in commencement are granted on a very limited basis.

A student seeking an exception must:

- Be missing no major requirements. - Be missing no more than six (6) credits for completion of their degree. - Complete a Commencement Participation Agreement through the Office of the Registrar. - Receive approval from their major department chair, their advisor, the chair of the department(s) from which credit is pending, and the Vice President of Academic Affairs (who may grant any additional exceptions)

Course Load/Credits

Most students complete a program of 120 credits to earn the BFA degree. With some variation for each area of concentration, these credits are distributed among first-year Studio Foundation courses, major concentrations, liberal arts, history of art, and studio electives. All concentrations except Art Education and Art History include the following distribution of courses: 18 credits in Studio Foundation, 42 credits in liberal arts/history of art, 36 credits in the concentration, and 24 credits in studio electives. Electives for Design, Art History, and Art Education 8

programs must be studio courses; electives for Fine Arts and Media and Performing Arts programs can be studio electives and up to 9 credits of liberal arts/history of art. To graduate in 8 semesters (4 years), undergraduate students must pass a normal full-time load of 30 credits per academic year. Full-time students take at least 12 credits per semester; part-time students take fewer than 12 credits per semester. Students who want to take more than 18 credits in one semester must obtain permission from their Department Chair and the Director of Advising.

***Please be advised: Tuition and Fees and Financial Aid have specific enrollment definitions that differ from the Academic Credit Load detailed above. Please contact the Bursar's Office and/or The Office of Student Financial Assistance if you have any questions on how tuition bills and financial aid are affected by credit load.*** Continuous Registration

Students are required to register each semester until all degree requirements are fulfilled. Unless granted an official leave of absence, a student who does not officially register for a semester is considered to have withdrawn from the college. Advising and Registration

In all situations, it is ultimately the responsibility of the student to satisfactory progress through a program and fulfill all degree requirements. Credit/Hour Ratio

MassArt expects all 3-credit classes to carry a workload of 9 hours per week, on average, divided between in-class and out-of-class work. Courses have class meeting times of varying lengths, depending on the designation of the class: lectures and seminars meet for 3 hours per week; critiques meet for 4 hours per week; and, studio/critiques meet for 5-6 hours. Grading System

Two grading systems are used at the college:

1. Letter grades (A, A-, B+, B, B-, C+, C, C-, D, F, Incomplete, W) are given in the following courses: Liberal Arts Art Education Fashion Design, Communication Design, Industrial Design, Animation, Illustration, and Architectural Design History of Art

2. Pass/ No Credit / Incomplete/ W grades are given in the following courses: First year studio courses (Studio Foundation - SFDN) Film/Video, Photography, Studio for Interrelated Media Fine Arts 2D - Painting, Printmaking Fine Arts 3D - Ceramics, Fibers, Glass, Jewelry/Metalsmithing, Sculpture

Grade Definitions

Massachusetts College of Art and Design uses a dual grading system: Letter Grades and Pass/No Credit grades. A grade of P (pass) is assigned as a measure of a student gaining knowledge and competencies. The pass grade is qualitative, not quantitative. As such, the P (pass) grade may be considered a C or better when evaluated for transfer purposes.

A Exceptional work in all respects.

B Above average work, distinguished in certain but not all respects.

C Average.

C- Below average

Lowest passing grade; individual departments may set standards for the application of "D" D grades toward progress in the major.

F Failing work. No credit is given.

Pass Work meeting all expectations for successful completion of the course.

The pass grade is qualitative, not quantitative. As such, the P (pass) grade may be considered a C or better when evaluated for transfer purposes.

NC No Credit. Work that does not meet the expectations of the course.

Inc A designation of an Incomplete in a course is a non-credit, temporary designation assigned when the student cannot, due to extenuating circumstances, complete the course obligations by the end of the semester.

W Withdrawn from the course. No credit earned. W grades do not appear on the student's transcript.

COM Completed (Only for Non-Credit workshops)

DNC Did Not Complete (Only for Non-Credit workshops)

If a failing grade is received in a required course, students must take the course again and pass it. This rule does not apply to a student who changed majors and who did not pass requirements for a previous concentration.

Spring 2020 Grade Statement

Due to the COVID-19 Pandemic, all spring 2020 classes went to a Pass/No Credit Grade System. Students were given the option to request an Equivalent Letter Grade for classes that usually carry letter grades (please see Grade System above). Equivalent Letter Grades are notated on a student's transcript, but do not replace the official Pass or No Credit grade.

The only exception to this policy for the spring 2020 term are undergraduate classes offered through the Art Education department which students could officially earn Pass/No Credit or Letter grades.

To request a spring 2020 letter grade*, the student should contact the instructor in writing. This request must be made by the third week of the semester immediately following the semester in which the course was taken.

Change of Grade

A faculty member may change any grade until the mid-semester following the course. In exceptional situations, faculty (or the department chair in the absence of the faculty) may extend the period for completing requirements for an incomplete grade beyond the deadline.

Changes of grades, other than INC, are permitted after mid-semester only with the signatures of the faculty.

Grade Appeal Procedure

A student who wishes to appeal a course grade should follow the procedure detailed below.

1a. The student should contact the instructor in writing or by email explaining that s/he would like to appeal the grade and request a meeting to discuss the matter. This meeting must be initiated within the first three weeks of the semester immediately following the semester in which the course was taken.

1b. In response to the request for a meeting, the instructor should reply to the student in writing or by email within seven days. If there is no response or an unsatisfactory response from the instructor within seven days, the student should contact the department chair (see #2 below).

1c. In the absence of the instructor who gave the grade, the student should set up a meeting directly with the department chair (see #2 below).

1d. If after discussion with the instructor (or department chair) the student's concerns remain unresolved, the student should submit a document to the instructor and the chair which includes the following:

 Date  Student's name and ID number  Name of the department  Name of the student's academic advisor  Course name, number, and section  Name of the instructor  Term in which the grade was received  Grade received  Grade expected  A thorough explanation of the reason for appealing the grade  Any relevant supporting materials (letters, emails, notes)

2. The student should set up a meeting with the department chair. The student must request this meeting within ten days of the written response following the initial meeting with the instructor. If the chair is the instructor of the disputed course, the student should go directly to the Vice- president of Academic Affairs. If appealing directly to the the vice-president, the deadlines and standards detailed in steps 1, 2, and 3 will apply.

3. If after discussion with the chair the matter remains unresolved, the student may schedule a meeting with the Vice-president of Academic Affairs. The vice-president will mediate a meeting between the student, instructor, and department chair. The vice-president is the final stop in the grade appeal process. The instructor of record has sole authority to change a grade. Student Evaluation

Students may request course evaluations for any course taken at Massachusetts College of Art and Design. The student must provide the faculty member with the evaluation form before the end of the Add/Drop period of the semester in which the class is taken. The faculty member submits Student Evaluation forms to the Registrar's Office. Information the student provides on the Student Evaluation form is not added to his or her transcript; however, the evaluation form is kept in the student's permanent file and copies of all Student Evaluations are sent with all official transcript requests. The Student Evaluation is intended to provide a description of the student's achievement in the course. It addresses the student's attendance, class participation, motivation, the work produced, and the student's progress and technical expertise in the subject area. Letter grade equivalents are not given for pass/no credit courses.

Review Board Evaluation

Beginning in the sophomore year in some departments and the junior year in others, a student's work is reviewed each semester by a board of faculty and visiting critics. For the faculty, review boards provide objective professional analysis of a student's evolving body of work and bring a fresh point of view to the continuing evaluation of students. For the students, review boards are one of the key elements of education at the college because they enhance the student's understanding of what he or she is creating. Perhaps more importantly, review boards at MassArt are intended to provide portfolio review and constructive criticism to the student. In courses that require them the review board may be one component of the grade for that class and must be clearly stated as such in the class's syllabus.

Advancement

Studio Foundation to Sophomore Year (Major)

. students missing/failing one or two required courses must complete one course prior to second semester sophomore year and the second by the end of the summer following sophomore year . students missing/failing three or more courses may not enter their sophomore major

Junior to Senior Year

. students may not register for senior-level studio courses until they have completed all first and second year required courses Departmental Standing

Detailed Department Standing Policies

All departments have standards of performance within their majors. Each department provides a probationary period of at least one semester for students whose work does not meet departmental standards.

Animation

Students must earn a B- in each and every required Animation course. Students earning lower than a B- in a required Animation course are placed on Animation departmental probation. Students who complete a minimum of two subsequent semesters and six credits of required Animation courses, and earn a grade of B- or better in each required Animation course, will be then removed from probation. Students who are on Animation departmental probation and earn lower than a B- in a required Animation course are subject to dismissal from the department.

Architecture

Students who do not maintain a minimum B- average in the major architectural requirements in a semester are placed on probation.

A 93-100 4.0

A- 90-92 3.7

B+ 87-89 3.3

B 83-86 3.0

B- 80-82 2.7

C+ 77-79 2.3

C 73-76 2.0

C- 70-72 1.7

D 63-66 1.0

Art Education

Art Education students must earn a B- or better in each art education course. Students who fail to earn a B- in a course may repeat it once. Students who fail to earn B- or higher in the course a second time are subject to dismissal from the department.

History of Art

History of Art students must maintain a minimum B- average in History of Art courses. A student whose average in the major falls below B- is placed on probation. A student whose average continues to fall below B- for a second semester is subject to dismissal from the department.

Fashion Design

Students must maintain a minimum C+ average in all major requirements. Any student whose major average falls below C+ is placed on probation. Within the Fashion Design Department, end-of-semester reviews are treated as final exams whose results are factored into course grades within identified courses. A student whose work remains poor after two end-of-semester reviews and whose average is below C+ in the major is subject to dismissal from the department.

Communication Design

Students must pass their required courses to progress in the major. Students must receive a "D" or better to pass.

Illustration

A student whose average is below C+ in a semester's required and elective Illustration courses is placed on departmental probation and subject to remediation. Such remedial work may include any or all of the following: a mid-semester review; repeating one or more classes; repeating a semester or an entire year's requirements. A student whose average is below C+ in Illustration courses for a second semester is subject to dismissal from the department. A student who has repeated a year and whose semester average falls below C+ in Illustration courses will be dismissed from the department.

Industrial Design

Students must earn a minimum of C+ in each required major course. Any student earning a grade below C+ in the major is placed on probation. A student on probation who earns below a C+ in a required course is subject to dismissal from the department.

Film/Video

A student who is judged by faculty to be continually working below the expected level over the course of a semester is placed on probation. A student on probation who continues to work below the expected level for a second semester is subject to dismissal.

Fine Arts 2D

Any student who receives more than one no credit in FA2D courses in any semester or two no-credits for the same course (fine arts requirement or elective that is repeated) is placed on probation. A student on probation who receives a no credit grade in a fine arts requirement or elective is subject to dismissal from the department.

Fine Arts 3D

Any Fine Arts 3D student who receives one no credit in a FA3D department required course in any semester, or two no-credit grades for the same FA3D department required course (repeated) is placed on probation in the department. A student who fails another required FA3D course while on probation is subject to dismissal from the department.

Photography

A student who receives a no credit grade in any major requirement is placed on probation. A student on probation who receives a no credit or incomplete grade is subject to dismissal from the department.

Studio for Interrelated Media

A student who earns a no credit in a major requirement or two no credits in major electives over two semesters is placed on probation. A student on probation who earns a no credit in a major requirement is subject to dismissal from the department.

Summary of Department Standing and Notification Policies

If a student's performance within their department fits the criteria (see below) she or he is placed on departmental probation.

Students are informed of departmental probation in a letter from the department chair.

Students who do not improve their work and/or grades while on probation may be dismissed from their department (see dismissal criteria below). Students who are dismissed from a department have one full semester following the dismissal to choose a new major. A student who does not choose a major after this interim semester will be dismissed from the college. Students who have been dismissed from two departments are subject to dismissal from the college.

Students who are dismissed from the department are notified of the action in a letter from the chair. Students dismissed from a department have the right to appeal through the office of the Senior Vice President for Academic Affairs.

Probation Criteria

Animation: a grade lower than a C+ in any major requirement Architecture: an average lower than B- for all major requirements Art Education: a grade lower than B- in any Art Ed course Fashion Design: an average lower than C+ for all major requirements Fine Arts 2D: Two or more No Credit grades in FA2D courses in one semester. Alternatively, receiving a second No Credit grade for a repeated course in FA2D. Fine Arts 3D: No Credit grade in one major requirement or two No Credit grades in either major requirements or major electives in two consecutive semesters Film/Video: working below the expected level in one semester Communication Design: an average lower than C+ for all major requirements History of Art: an average lower than B- for all major requirements Illustration: an average lower than C+ for all major requirements and major electives Industrial Design: a grade lower than a C+ in any major requirement Photo: No Credit grade in any major requirement SIM: No credit in a major requirement or two No Credits in major electives over two consecutive semesters

Dismissal Criteria

Animation: a grade lower than a C+ in any major requirement while on probation Architecture: an average lower than B- for all major requirements while on probation Art Education: a grade lower than B- in a repeated attempt of any Art Ed course Fashion Design: an average lower than C+ for all major requirements while on probation Fine Arts 2D: No Credit grade for a major requirement while on probation Fine Arts 3D: No Credit or Incomplete grade for a major requirement while on probation Film/Video: working below the expected level while on probation Communication Design: an average lower than C+ for all major requirements during a repeated semester History of Art: an average lower than B- for all major requirements while on probation Illustration: an average lower than C+ for all major requirements and major electives while on probation Industrial Design: a grade lower than a C+ in any major requirement while on probation Photo: No Credit or Incomplete grade for a major requirement while on probation SIM: No Credit in a major requirement while on probation. College-Wide Academic Standing

College-wide academic standing is based on overall academic performance each semester and in consecutive semesters. Each semester an undergraduate is enrolled in the BFA program he/she must complete and pass two-thirds of attempted credits. Attempted credits are those credits for which a student is registered at the close of add/drop. The criteria for college-wide standing are listed below.

Good Academic Standing

Students who have completed and passed two-thirds of attempted credits in the previous semester are considered to be in good academic standing.

Academic Notice

Students who complete less than two-thirds of credits attempted in a semester are placed on academic notice and are advised of this status in a letter from the director of advising. Only courses in which the student receives a passing grade are considered completed. Courses with grades of Withdrawn, Incomplete, No Credit, and F are all considered not completed/passed. Students on academic notice can return to good standing if they successfully complete and pass two-thirds of the credits they attempt the following semester.

Academic Probation

If students on academic notice fail to successfully complete two-thirds of the credits attempted in the next semester, they are placed on academic probation and advised of this status in a letter from the Registrar's Office. Students should make an appointment with the Advising Office before registration to discuss the process for recovery from probationary status. Students on academic probation can return to good academic standing if they successfully complete and pass two-thirds of the credits they attempt in the following semester.

Academic Dismissal

If students on probation fail to successfully complete two-thirds of the credits attempted in the next semester, they are subject to academic dismissal.

The academic records of students subject to dismissal will be reviewed by the Academic Standing group. They may decide to dismiss the student from the college. Alternatively, they may create a plan designed to give the student another chance at succeeding at the college. The plan may include changes in the student's choice of major, the number of credits the student may attempt, and the courses the student may take. It may also include a required leave of absence from the college before studies resume. Any decision the panel makes prevails over any other published academic progress policy.

Students who have been dismissed may choose to meet with an academic advisor to discuss their academic options. A student who has been dismissed from the college for academic reasons may appeal the decision by presenting a well-reasoned letter to the Academic Affairs office within 30 days of receiving the dismissal letter. Relationship of Departmental Standing to College-Wide Standing

Students who are dismissed from a department may have up to one semester following the department dismissal to choose a new major. A student who does not choose a major after this interim semester will be dismissed from the college.

Students who have been dismissed from two departments are subject to dismissal from the college. When students are subject to academic dismissal due to overall (college-wide) academic performance but are not dismissed, any remedial action by the college holds sway over all department policies. This is detailed above under "Academic Dismissal". Attendance

Students have a responsibility to attend all scheduled class meetings.

Faculty are responsible for clearly stating their expectations for performance and attendance through the course syllabus, and during the first week of classes. This includes their manner of recording attendance and whether any portion of a student's grade is based on attendance and/or class participation. Faculty are obligated to recognize legally protected activities, such as religious holidays, military service, and jury duty.

Students are responsible for making themselves aware of course attendance policies, and for meeting all course expectations as outlined in the course syllabus regardless of missed class time.

Students are responsible to communicate in a timely manner in written form (e.g. in an email) with their faculty regarding any missed class time and related class work.

A student who feels circumstances may warrant withdrawal from a single course should contact their Advisor and the Office of the Registrar. A student who wishes to request a medical leave of absence from the College should contact the Counseling and Wellness Center. Non-medical leaves of absence are coordinated through the Academic Resource Center.

A student who misses the first meeting of a class may be dropped from the roster by the instructor. Concentrations and Majors

Massachusetts College of Art and Design offers Bachelor of Fine Arts (BFA) degrees in 22 majors: Animation, Architectural Design, Art Teacher Education, Ceramics, Community Education, Fashion Design, Fibers, Film/Video, Glass, Communication Design, History of Art, Illustration, Industrial Design, Jewelry and Metalsmithing, Museum Education, Painting, Photography, Printmaking, Sculpture, Studio Education, Studio for Interrelated Media (SIM).

Dual Major

Students who choose a dual major complete the requirements of both majors. Typically, this requires an extra year of study.

Whether it is feasible to combine majors depends on the particular majors chosen. Students may need to speak with the chairs of both departments to understand if and how the requirements of both majors will fit together

Change of Major

The college permits one change of major during a student's academic career. Students accepted as advanced transfers (sophomore or junior) must complete one semester in the major to which they were accepted before they can change majors. Students who want to change majors must complete a change of major form (available in the Registrar's Office) and obtain the signature of their current faculty advisor, the department chair of the new major, and the director of advising. The student must file the form before pre-registration for the semester in which the change

will take effect. A change of major may require additional semesters of work to complete; students are encouraged to meet with an Academic Advisor to discuss how a change of major affects progress toward their degree. Independent Studies

Independent Studies are designed to provide students with an opportunity to pursue a specific project which cannot be done in the structure of an established class.

An Independent Study is generally considered to be the equivalent of a 3-credit course in terms of scope of project and amount of contact between a student and faculty member. Exceptions to this are considered on a case by case basis by the department in which Independent Study credit is sought. For instance, some projects needing formal Independent Study support may be compact enough to earn 1 or 2 credits rather than 3. (Some combination of independent work and contact with faculty should amount to 45 hours per credit.)

It is expected that a student enrolled in an Independent Study course will confer with their Grading Faculty Member as often as may be appropriate to the project and the number of Independent Study credits sought. Generally, for a 3-credit Independent Study course, the student and faculty member would meet a minimum of 6 hours over a semester (prorated for other credit values).

An Independent Study Request Form must be filed with the Office of the Registrar by the Add/Drop Deadline.

The Form must be accompanied by a Project Description which itself must include:

 Project Narrative  Proposed Learning Outcomes and Objectives  Number of credits sought  Number and timing of meetings between the student and faculty  Method of assessment Course Assistantship

Course assistantships allow qualified sophomores, juniors, and seniors to assist a faculty member with whom they have studied previously. Duties may include set up, assisting with demonstrations and critiques during class meetings. Course assistants may not grade students. Students may register for only one 3-credit course assistantship each semester, and no more than two such assistantships may count toward degree requirements.

Students selected by faculty to be course assistants submit a Course Assistantship form with the faculty and chair's signatures to the registrar during registration and no later than the end of the Add/Drop period. Students who are performing a Teaching Assistantship should follow Independent Study procedures. Internships through Career Services

Internships prepare students to participate in the creative economy as a fine artist, designer, and art educator by allowing them to develop knowledge and theory learned in the classroom with practical application, experience, and skill development in a professional setting. Internships also give students the opportunity to make connections, develop their portfolios, and explore fields they are considering as a career path.

Massachusetts College of Art and Design offers students matriculated in a degree program the opportunity to register and receive 3 Studio Elective Credits towards their degree for up to 2 internship experiences (6 credits total). Students complete internships during the summer after their sophomore year, in their junior year (fall, spring or summer) or during the first semester of their senior year. Requests to complete a credit bearing internship that falls outside of that timeframe should be referred to the Career Services Internship Manager, Rebekah Wright.

To qualify for credit, the internship must meet the basic guidelines and be approved for credit by the Faculty Internship Advisor selected by the student. Internships must be supervised onsite at an organization by a qualifying Company Internship Supervisor 17

and students must complete 135 hours of internship related work within 15 consecutive weeks. Internships can be completed during the fall, spring or summer. MassArt Career Services manages the 3 studio elective credit program.

To register an internship to be reviewed and approved for 3 studio elective credits, students must submit a completed internship registration form online through their Career Services account at MassArt.edu/careerservices. Click "Register My Internship" in the left hand menu in their home page, and follow the prompts to complete the form. Graduation Policies

Students need to complete 120 credits (except for certain Art Education tracks) and to meet departmental/concentration requirements for the BFA degree. At least 60 credits must be earned at the college or its exchange and cross-registration partners.

Students may not register for senior-level studio courses until they have completed all freshman and sophomore requirements.

Only students who have met all requirements for graduation may participate in the commencement ceremonies. The college assumes that students will pass the final semester's courses. Therefore, participation in commencement does not guarantee graduation. Students must pass courses in their last semester that are needed for graduation.

Diplomas are typically mailed from the Registrar's Office by the end of the summer.

Academic Honors

A student must earn at least eight A's in their Liberal Arts and/or History of Art courses by the start of the spring semester of their graduation year to earn Academic Honors and participate in The Honors Ceremony. At least seven of these courses must be taken at MassArt.

Some students may earn enough additional A's in their final spring semester to equal or exceed the number required for Academic Honors. These students will have Academic Honors conferred upon them and listed on their academic transcript.

For the spring 2020 term, grades of P (pass) in a Liberal Arts and/or History of Art course will count toward Academic Honors.

Departmental Honors

Students whose work is judged exceptional in their departments are awarded Departmental Honors upon graduation. Limited Enrollment Status

Matriculated undergraduates who, for hardship reasons, would like to take a single course through Continuing Education may apply for Limited Enrollment Status (LES).

Students on Limited Enrollment Status are still considered matriculated BFA students, but may register only for classes offered through Continuing Education, and are charged for those courses on a per-credit basis.

Students on Limited Enrollment Status are subject to the following restrictions:

LES registration is for 5 or fewer credits of enrollment through Continuing Education LES students have no eligibility for financial aid. LES students may not cross-register to other institutions.

Students must petition the Office or the Registrar to switch to LES on a per semester basis and can only do so for up to two consecutive semesters. From a degree enrollment point of view, LES is considered a semester of leave. Thus, a student can be on LES at most for one semester which precedes or follows a one semester leave of absence.

Withdrawal

Students who want to permanently withdraw from MassArt should notify the college in writing or on a Withdrawal form. This assures that the student's financial and academic status is properly treated upon exit.

Students who do not return to the college at the end of an approved leave of absence will be considered withdrawn from the college.

Returning Undergraduate Student Policy

1. Students who have discontinued their enrollment as MassArt undergraduates, who are not on a formal leave of absence and were missing any required courses at the time they stopped attending, have two semesters from the end of their last completed semester to resume coursework towards completing their degree. Students must complete the "Returning Major" application with the Office of the Registrar. The Faculty Chair of the student's Major(s) will decide acceptance on a space available basis.

2. Students who have discontinued their enrollment as MassArt undergraduates for over one academic year, who are not on an official leave of absence, and were missing any required courses at the time they stopped attending must apply for re-admission*

3. Readmission is not required for students who had completed all required courses at the time they stopped attending and have been away for fewer than five academic years. Returning students must complete a "Returning Student" form with the Office of the Registrar.

4. Students who have not attended MassArt for five years or more must apply for readmission*

5. Students must submit the Returning Major or Returning Student form to the Office of the Registrar sixty days prior to the next term.

6. Students return to the college with the same academic standing that they had during their last term of enrollment.

*If the student is re-admitted, academic requirements listed in the most up to date academic catalog of the student's selected major in effect at the time of readmission become effective. Courses deemed applicable through the application process from his/her previous enrollment will be credited toward the new degree track. Some previous courses/credits may be deemed out-of-date, irrelevant, or technically obsolete and not be applied to the new requirements.

Transfer credits may be accepted for college courses completed since separation. However, upon readmission, a limited number of transfer credits are accepted in accordance with transfer credit policies. All students must achieve current MassArt institutional credit requirements to complete their degree.

Appeals to the Returning Student Policy must be made to the Office of the Registrar in writing sixty days prior to the beginning of the semester in which enrollment is desired. Any appeals by students who are missing any required courses must be approved by the Chair of that major.

Readmission

Students who are required to reapply must meet the same application requirements and deadlines as new transfer applicants and are reviewed in the same schedule.

Students who are readmitted return with the same credit accumulated as when they withdrew; however, they must meet current requirements for graduation. Students may transfer additional credits only with the approval of the director of advising and the chair of the department in which the student is concentrating. Under no circumstances is the final year of residency waived.

Students dismissed for academic reasons may, after a period of one year, apply for readmission through normal readmission procedures.

Students dismissed for disciplinary reasons may, after a period of one year, petition the dean of students for readmission.

Student Work

Faculty hold all papers, texts, models, art work, and other materials submitted in fulfillment of class requirements for one full semester following completion of the course. Faculty are responsible for preserving course materials for this period and for making them available to students. Students are responsible for retrieving their materials. Faculty have the right to discard any course materials not collected after one semester. If course materials are preserved past the one semester period, students retain ownership of such work. The college is not responsible for the damage or loss of property and art work left in studio spaces. Studio Spaces

Department chairs may assign a selected number of studio spaces to sophomore, junior, and/or senior students majoring in Art Education, Fine Arts 2D, Fine Arts 3D, and Design. Students assigned studio space must sign contracts with the chair at the beginning of the fall semester. All studio spaces must be vacated at the end of the academic year. Any student found in violation of this provision may be subject to both academic and disciplinary action. Transfer Credit

The college accepts a maximum of 69 transfer credits toward the BFA degree: 39 maximum in the studio areas and 30 maximum in Liberal Arts/History of Art. Regardless of the number of credits transferred students must earn a minimum of 60 credits once matriculated in the BFA program.

Students must have received a grade of C or better in courses acceptable for transfer. Courses taken through the college's Professional and Continuing Education program before admission are subject to transfer credit review and restrictions.

Enrolled students who wish to take courses at other institutions or through Professional and Continuing Education as part of their degree program must gain prior approval from the appropriate department chair or the Office of the Registrar.

All credits must be academic credits.

Studio Transfer Credits

Students accepted to Massachusetts College of Art and Design are placed in studio courses based on the strength of their application portfolios. The number of possible transfer credits does not necessarily determine a student's class level. All studio transfer credit is based both on portfolio review and transcript review.

Studio courses not used to fulfill specific Studio Foundation or departmental requirements are evaluated for elective credits based on the level of acceptance and faculty recommendations.

Portfolio Credits

A maximum of 15 portfolio credits may be granted for exceptional experience outside the classroom as evidenced by portfolio or resume. Credits granted for portfolio are applied to the 39-credit maximum allotment for studio courses.

Transfer Credits in Liberal Arts and History of Art

The Office of Admissions, The Office of the Registrar and the Chairs of Liberal Arts and Art History determine which credits students can transfer, commensurate with the level the student reached at the previous college:

Completion of freshman year: 15 credits; completion of 3 semesters: 18 credits; completion of 4 semesters: 24 credits; completion of 5 semesters: 27 credits; completion of 3 or more years: 30 credits.

Life Experience Credit for Liberal Arts and History of Art

Students with exceptional life or work experience, documented by sample writings, published or unpublished texts, or resume, may apply for a maximum of nine credits to be transferred toward Liberal Arts and History of Art requirements. Credits granted are included in the 30 Liberal Arts/History of Art maximum transfer credits.

Advanced Placement Program

A score of 3 or higher on an Advanced Placement examination can be accepted as 3 transfer credits towards an elective in the appropriate subject.

Articulation Agreements

Massachusetts College of Art and Design has developed articulated transfer paths for students from three of the Commonwealth's community colleges: Greenfield, Holyoke, and Massasoit. Students in specific programs at these community colleges who earn associate degrees with grade-point averages better than 3.0 have simplified transfer procedures. Because space is limited, only a very few transfer spaces are guaranteed each year. For specific information on the Articulation Agreements, see the transfer coordinator or department faculty in the community college or contact the MassArt Admissions Office. Plagiarism

In creative work, plagiarism is the inappropriate and unethical representation of another's work as one's own. In those instances where a significant portion of a creative work is intentionally "appropriated," plagiarism is the failure to note, orally or in writing, the source of the appropriation. In expository or academic writing, whenever your work incorporates someone else's research, images, words, or ideas, you must properly identify the source unless you can reasonably expect knowledgeable people to recognize it. Proper citation gives credit where it is due and enables your readers to locate sources and pursue lines of inquiry raised by your paper. Students who do not comply may be penalized.

Pronoun and Chosen Name Policy

MassArt pursues a just, compassionate, and equitable learning environment and seeks to affirm the identity of each member of our community through pronouns and names. To that end, MassArt will use the pronoun a student provides. We also recognize that students use names other than the ones assigned at birth to identify themselves. To that end, MassArt will also use a student's chosen name wherever possible so long as the name does not contain special characters or numbers only (alphanumeric combination permissible) and the name is not being used for an improper purpose such as avoiding a legal obligation, vulgarity or misrepresentation.

MassArt will use a student's chosen name wherever a legal name is not required on campus including on internal documents, communications, systems and web portals such as:

 Class rosters and grade rosters  MassArt NetID and Email  MassArt Moodle  MassArt Self-Service  Degrees and Certificates

A chosen name will not be used on outgoing mail or documents that require a legal name such as:

 Official transcripts  Financial records  W-2 forms  Enrollment data  Financial aid documents

Students can enter their pronouns and chosen names electronically by using the MassArt Self-Service interface. Selected pronouns are currently displayed on class rosters only.

Academic Misconduct Procedures

A faculty member who suspects cheating or plagiarism in work submitted in fulfillment of a class requirement should confer with the student submitting the work in an attempt to determine whether a violation has occurred. The faculty member has the discretion to accept the work as academically and/or artistically honest, or to resolve the issue as a classroom issue, or to refer the matter to the department chair.

In the event the student does not concur with the disposition proposed by the faculty member, the student may refer the matter to the Department Chair.

If the matter is referred to the Department Chair, the Chair and faculty member will meet with the student to pursue information that may be pertinent.

In the event that the Chair and faculty member determine that a violation has occurred, they will review the student's educational record to determine if a prior sanction for academic misconduct has been imposed and may impose one or more of the following sanctions:

 The student does the assignment over or retakes the test.  The student receives no credit for the plagiarized assignment.  The student fails (or receives no credit) for the class.  The student is referred to the senior vice president for academic affairs for further academic sanction. The chair will inform the student, in writing, of the finding and the sanction imposed. If the sanction imposed is failure (or no credit) for the class, the chair's letter to the student constitutes a letter of reprimand. A copy of any letter of reprimand is retained by the college as a component of the accused student's educational record.

An academic sanction imposed or approved by the senior vice president for academic affairs is not subject to further review or appeal.

If just cause is determined by the senior vice president for academic affairs, in consultation with the department chair and the faculty member, the matter may also be referred by the senior vice president to the chief student affairs officer, to be dealt with as a disciplinary matter under the general provisions of these Community Standards.

Incomplete Grade Policy

A designation of an Incomplete in a course is a non-credit, temporary designation assigned when the student cannot, due to extenuating circumstances, complete the course obligations by the end of the semester.

Careful consideration must be given by the faculty to allow one student more time than all other students in a course to complete the required work.

• Students must complete a Petition for Incomplete Form & Contract (available in the Registrar's Office) and present it to the Faculty for approval with supporting documentation (if required). This will act as a contract between the Student and the Faculty governing the completion of the coursework.

• Faculty shall draft the contract with the student that records the reason for the extension.

• Students should have completed a majority amount of coursework to be considered for an incomplete.

• For a student who successfully petitions their faculty for an Incomplete, the Faculty will not mark a student with a grade. The Registrar's Office will mark the INC designation once it receives a completed Petition for Incomplete form, signed by the faculty.

• All incomplete work should be completed no later than four weeks after the start of the subsequent semester.

• Only in extreme cases may the deadline be extended.

• Faculty must complete a Change of Grade Form to change the designation from an INC to either a passing grade or an NC/F.

• If a student who receives an Incomplete in a prerequisite is unable to finish their work in the allotted time they will be dropped from any current post requisites.

VALOR Act Academic Credit Evaluation Policy

In accordance with the VALOR ACT, Massachusetts College of Art and Design evaluates credit earned for military education, training, experience, or coursework using the same standards as those applied to coursework from accredited colleges and universities. Massachusetts College of Art and Design reviews all military transcripts and discharge documents (DD214), including SMART, ACE, and AARTS, as well as CLEP Subject Standardized Tests in accordance with college policies for transferability of credit to the student’s intended major or program of study. Such evaluation shall be in accordance with existing credit transfer policies. Students shall receive accurate and complete academic counseling from the Veterans Coordinator in collaboration with the Academic Resource Center. MassArt’s current Veterans Coordinator is Jonathan Rand, Registrar. Any questions regarding Veteran services should be directed to him. Jonathan can be contacted at 617-879-7263 or [email protected]

Veteran’s Enrollment Policy

Covered individuals may attend or participate in the course of education during the period beginning on the date on which the individual provides to the educational institution a certificate of eligibility for entitlement to educational assistance under chapter31 or 33 (a “certificate of eligibility” can also include a “Statement of Benefits” obtained from the Department of Veterans Affairs’(VA) website - eBenefits, or a VAF 28-1905 form for chapter 31 authorization purposes) and ending on the earlier of the following dates: The date on which payment from VA is made to the institution. 90 days after the date the institution certified tuition and fees following the receipt of the certificate of eligibility.

MassArt will not impose any penalty, including the assessment of late fees, the denial of access to classes, libraries, or other institutional facilities, or the requirement that a covered individual borrow additional funds, on any covered individual because of the individual’s inability to meet his or her financial obligations to the institution due to the delayed disbursement funding from VA.

Veterans Benefits and Transition Act of 2018 S.2248 Section 103.1. (b) A Covered Individual is any individual who is entitled to educational assistance under chapter 31, Vocational Rehabilitation and Employment, or chapter 33, Post-9/11 GI Bill® benefits. MPTC Police Academy’s ensures that your educational institution will not impose any penalty, including the assessment of late fees, the denial of access to classes, libraries, or other institutional facilities, or the requirement that a covered individual borrow additional funds, on any covered individual because of the individual’s inability to meet his or her financial obligations to the institution due to the delayed disbursement funding from VA under chapter 31 or 33.

MPTC Police Academy permits any covered individual to attend or participate in the course of education during the period beginning on the date on which the individual provides to the educational institution a certificate of eligibility for entitlement to educational assistance under chapter 31 or 33 a “certificate of eligibility” can also include a “Statement of Benefits “obtained from the Department of Veterans Affairs’ (VA) website - e-Benefits, or a VAF 28-1905 form for chapter31authorization purposes) and ending on the earlier of the following dates: The date on which payment from VA is made to the institution. Ninety (90) days after the date the institution certified tuition and fees following the receipt of the certificate of eligibility.

A Covered Individual is any individual who is entitled to educational assistance under chapter 31, Vocational Rehabilitation and Employment, or chapter 33, Post- 9/11 GI Bill® benefits. In order to be considered covered under Randolph Police Academy’s Section 103 policy, a recruit must complete the following actions:• Provide academy director with a copy of their Certificate of Eligibility or statement of benefit• Provide a written request via the Municipal Police Training Committee’s approved Veteran Benefits form.

Veterans Access, Choice, and Accountability Act of 2014 For courses, semesters, or terms beginning July 1, 2017, in-state tuition will be charged for anyone using transferred Post-9/11 G.I. Bill benefits (38 U.S.C. § 3319) who lives in Virginia while attending a school located in Virginia (regardless of his/her formal state of residence) and the transferor is a member of the uniformed service who is serving on active duty.

An individual using educational assistance under chapter 31, Vocational Rehabilitation and Employment (VR&E) who lives in the Commonwealth of Virginia while attending a school located in the Commonwealth of Virginia (regardless of his/her formal State of residence) effective for courses, semesters, or terms beginning after March 1, 2019.

Academic Programs Animation The animation program exposes students to a wide range of experimental and conventional techniques. These include documentary animation, character animation, stop motion, experimental video, digitally generated animation, and other emerging technologies. Regardless of their preferred technique, students learn to adopt strong problem-solving strategies.

Recognizing the collaborative nature of the medium, the program encourages collegiality and the development of interpersonal skills. Students learn how to critique their own work and the work of others in a constructive manner.

Coursework culminates in a degree project consisting of a sustained film as well as a portfolio and reel highlighting students' professional and creative objectives.

Animation Faculty

Leland Burke, Professor BFA, University Of Georgia MFA, Rhode Island School Of Design

Tammy Marie Dudman, Associate Professor BFA, Rhode Island School Of Design MFA, Milton Avery Graduate School Of The Arts, Bard College

Steven Gentile, Professor BFA, Rhode Island School Of Design MFA, Lesley University

Bryan Papciak, Assistant Professor BS, Bob Jones University/School of Fine Arts MA, Bob Jones University/School of Fine Arts

Jesse Strauss, Assistant Professor BFA, Rhode Island School Of Design MFA, Hunter College Graduate School of Education

Daniel Rowe, Assistant Professor BFA, Massachusetts College of Art and Design MFA, Virginia Commonwealth University, School of the Arts

Animation Requirements

Foundation Year Major Requirements SFDN181 Studio for Drawing 3 cr. Fall SFDN182 Visual Language 3 cr. Fall SFDN185 Drawing Projects 3 cr. Spring SFDN191 Time 3 cr. Spring SFDN183 Form Study 3 cr. Fall/Spring Studio Elective 3 cr. Fall/Spring

Total Credits: 30

Sophomore Year Major Requirements CDAN200 Animation 1 3 cr. Fall CDAN203 The Digital Toolbox 3 cr. Fall CDAN301 Animation II 3 cr. Spring CDAN202 Drawing for Animators 3 cr. Spring

*Pick one Color & Media Course:

CDAN212 Design for Animators I 3cr. Fall and Spring CDIL205 Media Techniques 3 cr. Fall & Spring 2DPA100 Introduction to Painting 3 cr. 2DPA103 Watercolor 3 cr. 2DPA228 Color for Painting 3 cr.

*Pick one Figure Course: CDAN217 Life Drawing 3cr. Fall and Spring CDIL211 Human Figure in Illustration 3 cr. Fall/Spring CDAN218 Figurative Clay Construction 3cr Fall & Spring

Liberal Arts and Art History Requirements LALW200 Literary Traditions 3 cr. Fall/Spring HART - History of Art Elective 3 cr. Fall/Spring LASS - Social Science Elective 3 cr. Fall/Spring LAMS - Math/Science Elective 3 cr. Fall/Spring

Total Credits: 30 Junior Year Major Requirements CDAN215 Stop Motion Animation I 3cr. Fall and Spring CDAN302 Animation III 3 cr. Fall CDAN403 Animation IV 3 cr. Spring Studio Electives 12 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or 11/15/2020 Acalog ACMS™ : Preview Program https://massart.acalogadmin.com/preview/preview_program.php?catoid=10&progoid=394&preview&print 3/3 Math/Sci Elective 3 cr. Fall/Spring LALW - Lit/Writ/Film Elective 3 cr. Fall/Spring

Total Credits: 30 Senior Year Major Requirements CDAN400 Degree Project I 3 cr. Fall 25

CDAN401 Animation Portfolio 3 cr. Fall CDAN402 Degree Project II 3 cr. Spring Studio Electives 12 cr. Fall/Spring

Liberal Arts and Art History Requirements LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 6 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring HART - History of Art Elective 3 cr. Fall/Spring or LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or Math/Sci Elective 3 cr. Fall/Spring

Total Credits: 30

Architecture The undergraduate pre-professional architecture program offers a course of study in architecture that is hands on. Elective offerings include topics such as exhibit design, furniture design, lighting, and sustainable design. As students advance, they learn to solve increasingly complex problems and to design buildings, interiors, and structures that satisfy social, aesthetic, safety, and ecological considerations.

Classes are taught by practicing professionals and are friendly, informal, and highly participatory. Field trips to building sites, seminars on leading design issues, and research on the nature of materials and technologies complement coursework.

Graduates of MassArt's undergraduate architecture program have routinely gained admission to excellent graduate programs around the country. Now students have the additional option of attaining a master of architecture degree at MassArt with an additional four semesters following the four-year undergraduate program. (The program has obtained NAAB accreditation). Architecture Faculty

Paul Hajian, Professor BS, Massachusetts Institute of Technology Master of Architecture, Massachusetts Institute of Technology

Margaret Hickey, Professor BS (Mechanical Engineering), BARCH, Massachusetts Institute of Technology

Patti Seitz, Professor BA, Washington University in St. Louis MA, Washington University in St. Louis Master of Architecture, Massachusetts Institute of Technology

Tamara Roy, Assistant Professor Bachelors of Architecture, Carnegie-Mellon University Master of Urban Design & Architecture, Berlage Institute-Amsterdam

Architecture Requirements

Total Credits: 30 Sophomore Year Major Requirements EDAD200 Pattern Language & Morphology in Architecture 3 cr. Fall EDAD202 Methods and Materials 3 cr. Fall EDAD223 Architectural Design I 3 cr. Spring EDAD227 Architectural Structures I 3 cr. Spring EDAD102 Architectural Technical Drawing 3 cr. Fall/Spring

Liberal Arts and Art History Requirements LALW200 Literary Traditions 3 cr. Fall/Spring LASS - Social Science Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or Math/Sci Elective 3 cr. Fall/Spring

Total Credits: 30 Junior Year Major Requirements EDAD310 Architectural Design II 3 cr. Fall EDAD317 Architectural Structures II 3 cr. Fall EDAD320 Architectural Design III 3 cr. Spring EDAD367 Building Operating Systems 3cr Spring EDAD350 Building Components and Details 3 cr. Spring Studio Elective 3 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LALW - Lit/Writ/Film Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or Math/Sci Elective 3 cr. Fall/Spring HART - History of Art Elective 3 cr. Fall/Spring or LA-SS/LW/MS - Social Science, Lit/Writ/Film 3 cr. Fall/Spring or Math/Science Elective 3 cr. Fall/Spring

Total Credits: 30 Senior Year Major Requirements EDAD410 Architectural Design IV 3 cr. Fall EDAD450 Architecture Degree Project I (Research) 3 cr. Fall EDAD451 Architecture Degree Project II (Design) 3 cr. Spring Studio Electives 15 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LAMS - Math/Science Elective 3 cr. Fall/Spring or EDAD427 Structures Overview 3cr Fall

Art Education The Art Education Department prepares students to be skillful, imaginative, and socially engaged artist-teachers.

In this major, students explore teaching and learning in visual art through developing a studio art practice in addition to taking teaching and general education classes. Students choose to have a studio specialization or to take a broad range of studio classes.

Students in both tracks take introductory seminars in art and human development and contemporary teaching and contemporary art practices. Art Ed students learn about different instructional methods and the challenges that their students face in their daily lives.

MassArt's Saturday Studios program affords students the opportunity to gain hands-on experience as educators before their extrenal practicums by teaching Saturday morning art classes to children grades 4 through 12 with support and supervision of Art Ed. faculty. Art Education Faculty

Beth Balliro, Assistant Professor BA, Smith College MSAE, Massachusetts College of Art and Design

Lois Hetland, Professor BSS, Cornell College Ed.M, Harvard University, Graduate School of Education Ed.D, Harvard University, Graduate School of Education

Adriana Katzew, Associate Professor BA, Harvard University Ed.M, Harvard University Graduate School of Education Ed.D, Harvard University Graduate School of Education

Art Education Requirements

Art Education Breadth

Total Credits: 30 Sophomore Year Major Requirements AETE201 Art & Human Development 3 cr. Fall/Spring

*Must Be Taken Simultaneously AETE208 Seminar I: Contemporary Teaching Practices 3 cr. AETE209 Seminar II: Contemporary Art Practices 3 cr.

Junior Year Major Requirements AETE221 Interdisciplinary Studio I 3 cr. Fall and Spring AETE300 Seminar III: Issues and the Individual Learner 3 cr. Fall/Spring AETE307 Saturday Studios Prepracticum I 3 cr. Fall/Spring AETE322 Interdisciplinary Studio II 3 cr. Fall and Spring

Senior Year Major Requirements AETE400 Saturday Studios Prepracticum II 3 cr. Fall/Spring AETE404 Seminar IV: Creating Community 3 cr. Fall or AETE-412 Seminar VI AETE424 Interdisciplinary Studio III 3 cr. Fall and Spring AETE425 Capstone Studio 3 cr. Fall and Spring

Liberal Arts and History of Art:Sophomore - Senior Year LALW200 Literary Traditions 3 cr. Fall/Spring LASS280 Introduction to Psychology 3 cr. Fall/Spring HART-History of Art electives-6 cr. Non-Western-Take a non-western elective from HART, LASS, or LALW-3 cr. LAMS-Math or Science elective-3 cr. LA-Liberal Arts elective-6 cr. Summative Elective-Take one 400 level course from LALW, LASS, or LAMS-3 cr.

Studio Electives: Sophomore-Senior Year 2D-Three 2D electives-9 cr. 3D- Three 3D electives-9 cr. Media Arts-Two Media Arts electives-6 cr.

Studio Electives-Two open studio electives-6 cr.

Ninth Semester

Major Requirements AETE407 Student Teaching Practicum 6 cr. Fall/Spring AETE408 Seminar V: Designing Curriculum in the Visual Arts 3 cr. Fall/Spring AETE426 Artist Teacher Studio 3 cr. Fall and Spring

Art Education Specialization

Total Credits: 30 Sophomore Year Major Requirements AETE201 Art & Human Development 3 cr. Fall/Spring

*Must Be Taken Simultaneously AETE208 Seminar I: Contemporary Teaching Practices 3 cr. AETE209 Seminar II: Contemporary Art Practices 3 cr. Junior Year Major Requirements AETE221 Interdisciplinary Studio I 3 cr. Fall and Spring AETE300 Seminar III: Issues and the Individual Learner 3 cr. Fall/Spring AETE307 Saturday Studios Prepracticum I 3 cr. Fall/Spring

Senior Year Major Requirements AETE322 Interdisciplinary Studio II 3 cr. Fall and Spring AETE400 Saturday Studios Prepracticum II 3 cr. Fall/Spring AETE404 Seminar IV: Creating Community 3 cr. Fall or AETE412 Seminar VI: Exhibitions: Concept, Context, and Audience 3 cr. Spring Studio Major 12 cr. Fall/Spring AETE425 Capstone Studio 3 cr. Fall and Spring

Liberal Arts and History of Art:Sophomor - Senior Year LALW200 Literary Traditions 3 cr. Fall/Spring LASS280 Introduction to Psychology 3 cr. Fall/Spring HART-History of Art electives-6 cr. Non-Western- Non-western elective from HART, LASS, or LALW-3 cr. LAMS-Math or Science elective-3 cr. LA-Liberal Arts elective - 3 cr. Summative elective-Take a 400 level elective from LALW, LASS, or LAMS-3 cr.

Studio Electives: Sophomore-Senior Year Major Requirements of Selected Major-36 cr.

Ninth Semester

Certificate Program Master the foundational technical and artistic skills for professional practice in design. Design certificate classes are taught by faculty with professional experience in an environment that emphasizes the value of both peer and faculty review. Students graduate with a professional portfolio and benefit from ongoing networking opportunities and advisory support.

Fashion Design Certificate MassArt’s Fashion program has long been celebrated for encouraging creative exploration while building on time- tested principles of design and craft. The Fashion Certificate at MassArt offers an opportunity for students to learn the fundamentals of fashion design in one of the oldest and most respected fashion programs in the country. Design Certificate students take a series of foundation courses that include pattern drafting, fashion illustration, tailoring and couture design. Master classes focus on fashion specialties–costume design, handbag design, trend forecasting, state of the art digital tools (U4ia) and manufacturing (Gerber)-and are taught by experts in those fields. Students explore cultural and aesthetic trends while learning from professionals in different aspects of fashion to master technical skills and identify their personal style through a series of directed individual projects. Ultimately, students complete the program with a professional portfolio consisting of a body of work that is technically proficient and fashion forward.

Major Requirements EDFD264 Pattern Drafting 3cr EDFD263 Intro to Creative Fashion 3cr EDFD232 Fashion Illustration (CE) 3cr EDFD317 Tailoring 3cr EDFD318 Couture Design 3cr Fashion History 3cr (Take approved Fashion History course)

Electives Take 3 electives: Choose 3 electives (9 credits total) from approved list, only approved courses will fill in on this requirement.

Professional Portfolio EDFD319 Professional Portfolio 2cr 11/15/2020 Program: Furniture Design Certificate - Massachusetts College of Art and Design - Acalog ACMS™ academic-catalog.massart.edu/preview_program.php?catoid=10&poid=458&print 1/2

Furniture Design Certificate MassArt and North Bennet Street School, preeminent institutions respectively in fine art and design and fine craftsmanship, are excited to offer a unique program that capitalizes on the extraordinary and complementary strengths of the two institutions. The program emphasizes design as an iterative process in the creation of studio furniture, focusing on the development of each student as an artist, designer and craftsperson. Students take two prerequisites at North Bennet Street School: Fundamentals of Fine Woodworking and Fundamentals of Machine Woodworking to ensure competency and safe practices in the facilities of both institutions. The certificate program begins with foundation courses in design process and the history of furniture. The program then progresses to a sequence of studio courses that allow students to develop projects of increasing complexity, rooted in their personal vision and artistic identity. The Furniture Certificate culminates in a major project coupled with a Professional Practice seminar to aid students in understanding design industry standards and practices for a facile transition into the workplace. Semester 1 EDID200 Concept to Object:process/Furn 3cr EDID317 History&Development/Mod.Furn 3cr

Semester 2 3DTD210 Advanced Techniques for Furniture Making 3 cr. 3DTD330 The Art of Furniture Design I: Fundamentals of Design and Construction 3 cr.

Semester 3 3DTD340 The Art of Furniture Design II: Fundamentals of Design and Construction 3 cr.

Semester 4 3DTD440 Intermediate Furniture Design: Pre-Capstone Studio 3 cr.

Semester 5 EDID230 Professional Practice 3cr 3DTD441 Furniture Design Capstone 3 cr.

Electives Studio Electives 6cr

Graphic Design Certificate The Graphic Design Certificate program offers a part-time in-depth course of study for people interested in pursuing a career in graphic design or incorporating design skills into their professional or personal practice. Areas covered include branding, print and digital publication, interactive media, environmental graphics and more. Graduates of the program work for design studios, agencies, in-house corporate design departments, as free-lance designers, or build their own business. The Certificate features evening classes in a 13 course, 38 credit sequence that can be completed in 3 years.

Graphic Design Certificate students will graduate with a portfolio with professional quality work.

Required Courses CDGD203 Foundations of Graphic Design 3cr CDGD201 Typography 3cr CDGD218 Graphic Design I (PCE) 3cr CDGD202 Intermediate Typography 3cr CDGD471 Final Portfolio 4cr DSGN346 User Experience (UX) Design 3cr CDGD310 Graphic Design II 3cr CDGD311 Graphic Design III 3cr CDGD328 Print Production 1.5cr Interactive Development 3cr Please contact GDC Program Coordinator to have Basic Interactive Development Competency requirement approved. CDGD337 Advanced Interactive Projects 3cr CDGD371 Intermediate Portfolio 4cr

Topics in Advanced Design CDGD365 Information Design 3cr

Industrial Design Certificate The Industrial Design Certificate comprises the coursework of MassArt’s undergraduate degree in Industrial Design. The program covers all aspects of industrial design processes and practice. Incorporating research, concept drawing, manufacturing analysis, and material exploration, students develop the ability to design products and systems, effectively creating solutions for consumer products and organizations with an emphasis on responsible design. Students in the certificate program take classes and participate in professional activities and events with MassArt undergraduates.

Major Requirements Year 1 EDID205 Drawing for Designers 3cr Fall

EDID215 Industrial Design Principles 3cr Fall EDID225 Industrial Design Form 3cr Fall EDID216 Intro CAD/Solid Modeling/ID 3cr Spring EDID235 Manufacturing Process I 3cr Spring EDID245 Human Factors-Ergonomics 3cr Spring

Year 2 EDID315 Industrial Design I 3cr Fall EDID325 Manufacturing Process II 3cr Fall EDID345 Industrial Design II 3cr Spring EDID355 Professional Practice 3cr Spring

Year 3 EDID415 Industrial Design III 3cr Fall EDID425 Degree Project I - Research 3cr Fall EDID365 Product Development Lab 3cr Spring EDID435 Degree Project II/Development 3cr Spring

Electives Studio Elective from ID 3cr Open Studio Elective 3cr History of Art elective 3cr

Communication Design From the page to the screen to the environment, graphic design is central to how we construct and convey meaning within communication design. The Communication Design Department provides students with a robust working knowledge of print design, information design, branding, and dynamic media (experience design). Our students learn by doing in studio classes led by a faculty of practicing designers and design educators, each accomplished in their area of expertise. The fundamentals of design remain consistent across media: color must enhance meaning, typography must be legible to communicate, and images must strengthen the message. Traditional manual skills such as hand lettering and drawing, and sophisticated graphics software are part of the spectrum of tools available to today's graphic designers. Students are challenged to develop design solutions while experimenting with a wide range of media including package design, book and magazine layouts, interactive communication, letterpress, and the creation of graphic identities and branded experiences.

The communication design faculty inspires and advocates that students not only value structure, surface, and form, but also engagements and interactions of design with clients, audiences, and the culture at large. The essential operation of the Communication Design Department is to provide students with an educational environment in which to explore theoretical, practical and technical applications relative to a variety of design problems. Through a sequenced combination of required courses in the major, studio electives, technical workshops and computer lab-based courses, students are exposed to intensive critique as well as discussions and lectures. They learn to speak intelligently about their own work and the work of their classmates, in preparation for the increasingly team-based professional environment in which they will find themselves upon graduation. Communication Design Faculty

Gunta Kaza, Professor BFA, College for Creative Studies MFA, Rhode Island School of Design

Jan Kubasiewicz, Professor MFA, Academy of Fine Arts, Lodz, Poland

Joseph Quackenbush, Professor BA, Oakland University MFA, Rhode Island School of Design

Martha Rettig, Assistant Professor BFA, Simmons College MFA, Massachusetts College of Art and Design

Lisa Rosowsky, Professor AB, Harvard University MFA, Yale University

Communication Design Requirements

Total Credits: 30 Sophomore Year Major Requirements CDGD206 Sophomore Graphic Design Studio 6 cr. Fall CDGD210 Typography I 3 cr. Fall CDGD220 Graphic Design I 3 cr. Spring CDGD230 Typography II 6 cr. Spring Junior Year Major Requirements CDGD340 Graphic Design II: Making Meaning 3 cr. Fall CDGD342 Information Architecture I 3 cr. Fall CDGD341 Typography III: Designer and Content 3 cr. Spring CDGD322 Information Architecture II 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Senior Year Major Requirements CDGD411 Graphic Design IV 3 cr. Fall CDGD416 Advanced Projects I 1.5cr Fall CDGD417 Advanced Projects II 1.5cr Fall CDGD420 Graphic Design Portfolio 3 cr. Spring CDGD430 Senior Degree Project 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and History of Art: Soph-Senior Year LALW200 Literary Traditions 3 cr. Fall/Spring HART295 Design History 3cr Fall HART-History of Art electives-3 cr. LASS-Social Science elective-3 cr. LALW-Literature and Writing elective-3 cr. LAMS-Math or Science elective-3 cr. LA-Liberal Arts elective-6 cr. LAHART-Liberal Arts or History of Art elective-3 cr. Summative Elective-Take one 400 level course from LALW, LASS, or LAMS-3 cr.

Fashion Design The Fashion Design Department teaches students to research, design and construct both couture and ready-to-wear garments. Students are encouraged to explore their individual interests and to develop their own style as they master illustration, design, pattern drafting and mass-production techniques.

Traditional methods of foundation and shape are developed for couture and bespoke clothing. Trend forecasting and fabric innovations are explored for ready-to-wear line production. Computer knowledge in industry software Adobe Photoshop and Illustrator along with Gerber CAD are incorporated into the curriculum.

Program faculty teach time-honored design methods along with computer design technology as students complete ensembles in a variety of apparel categories while considering issues of marketability, cost, care and comfort.

For the degree project undertaken during the senior year, students create a signature collection, drawing upon independent research and their individual aesthetic. Students have participated in Council of Fashion Designers of America competitions and team projects with the Italian Trade Commission, Chadwick's and Karmaloop.

Fashion design students obtain internships and positions - from designing to manufacturing and product development; theater costuming and retail merchandising - with Michael Kors, Rag and Bone, DKNY, Anna Sui, Boston Ballet, Victoria's Secret, Puma, Zac Posen, Tory Burch, Betsy Johnson, Armani AX, Tommy Hilfiger, Reebok, Boston Conservatory, Phillip Van Heusen, Natori, Talbots, Fossil, Vera Wang, Nicole Miller, J.Jill, Marc Jacobs, Marchesa, and Rick Owens.

Fashion Design Faculty

Sondra Grace, Professor BFA, Massachusetts College of Art and Design MA, University of Massachusetts

Renee Harding, Professor BFA, Rhode Island School of Design MFA, Acadamy of Art University

Jennifer Varekamp, Professor BFA, Massachusetts College of Art and Design M.Ed, Harvard University

Fashion Design Requirements

Total Credits: 30 Sophomore Year Major Requirements EDFD216 Digital Tools for Textile Design 3cr Fall EDFD220 Fashion Illustration I 3 cr. Fall EDFD256 Pattern Drafting and Construction I 3 cr. Fall EDFD221 Fashion Illustration II 3cr Spring EDFD255 Creative Fashion Design I 3 cr. Spring EDFD257 Pattern Drafting and Construction II 3 cr. Spring

Junior Year Major Requirements EDFD306 Product Development 3cr Fall EDFD354 Creative Fashion Design II 3 cr. Fall EDFD355 Creative Fashion Design III 3 cr. Spring

Senior Year Major Requirements EDFD450 Degree Project I 3 cr. Fall EDFD455 Creative Fashion Design IV 3 cr. Fall EDFD451 Degree Project II 3 cr. Spring Studio Electives 12 cr. Fall/Spring

Liberal Arts and History of Art: Soph-Senior Year LALW200 Literary Traditions 3 cr. Fall/Spring HART294 Fashion History I 3cr Fall and Spring HART-History of Art electives-3 cr. LASS-Social Science elective-3 cr. LALW-Literature and Writing elective-3 cr. LAMS-Math or Science elective-3 cr. LA-Liberal Arts elective-6 cr. LAHART-Liberal Arts or History of Art elective-3 cr. Summative Elective-Take one 400 level course from LALW, LASS, or LAMS-3 cr.

Film/Video The Film/Video program is committed to redefining what it means to be an artist working with the moving image. From gallery installations to multi-screen narratives to experimental and documentary shorts, our faculty encourages students to think outside the box to create works that move beyond traditional video and filmmaking. Our small class sizes facilitate one-on-one contact between faculty and student, and course content often includes direct manipulation of the media (handmade film); web performance projects (YouTube and performance); and real-time video effects (live video mixing).

Our students are consistently challenged to create new forms of viewing experiences, which may be personal, political, conceptual, abstract, visceral, and visionary. Students are also introduced to a wide range of historical works and contemporary discourse on media theory and practice. The Film/Video program provides students with a strong historical knowledge base, as well as teaching them technical skills and developing intimate understandings of their own imaginations.

In addition to the broad range of courses we offer, the longstanding MassArt Film Society, a renowned screening series programmed by professor Saul Levine, provides weekly screenings of a wide range of films and videos, and is often followed by a live discussion with the artist. Film/Video Faculty

Ericka Beckman, Professor BFA, Washington University in St. Louis MFA, California Institute of the Arts

Nancy Salzer, Assistant Professor BA - Columbia University MFA - Mass College of Art

Gretchen Skogerson, Professor BA, Columbia University MFA, Rensselar Polytechnic Institute MA, New York University

Soon-Mi Yoo, Associate Professor BA, Yonsei University, Korea MFA, Massachusetts College of Art and Design

Film/Video Requirements

Total Credits: 30 Sophomore Year Major Requirements MPFV220 Video I 3 cr. Fall MPFV210 Film I 3 cr. Fall MPFV245 Sound I 3 cr. Fall MPFV221 Video II 3 cr. Spring MPFV211 Film II 3 cr. Fall/Spring Studio Elective 3 cr. Fall/Spring

Total Credits: 30 Junior Year Major Requirements MPFV322 Junior Major Viewing 1 3 cr. Fall MPFV325 Junior Major Viewing II 3 cr. Spring MPFV312 Junior Major Production 3 cr. Spring Studio Electives 9 cr. Fall/Spring

*Choose 1 of 2 MPFV323 Experiments in Film Narrative 3 cr. MPFV321 Short and Fast: From Idea to Critique 3 cr.

Liberal Arts and Art History Requirements LALW - Lit/Writ/Film Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or Math/Sci Elective 3 cr. Fall/Spring HART - History of Art, Social Science, Lit/Writ/Film or Math/Science elective 3 cr. Fall/Spring or LA-SS/LW/MS - History of Art, Social Science, Lit/Writ/Film or Math/Science elective 3 cr. Fall/Spring

Total Credits: 30

Senior Year Major Requirements MPFV410 Senior Thesis Studio I 3 cr. Fall MPFV402 Contemporary Issues in Film/Video 1 3 cr. Fall MPFV411 Senior Thesis Studio II 3 cr. Spring MPFV403 Contemporary Issues in Film/Video II 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 6 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring

Total Credits: 30

Fine Arts 2D The Fine Arts 2D Department comprises programs in painting and printmaking. After exposure to a broad range of ideas and techniques, students in both programs work individually with faculty mentors to develop their own direction and aesthetic values. As proof of its commitment to fostering creative independence, MassArt offers undergraduate and graduate students their own workstations.

Because discipline is key to the pursuit of both painting and printmaking, students devote ten hours per week to class time and an additional six to twelve hours per week in their studios.

The painting program instills in students the knowledge and critical faculties necessary to develop a personal, expressive direction. Students in the painting program begin by learning the most essential techniques of painting, from stretching canvas to representing pictorial space on a flat ground. Because drawing is essential to the development of student work, two semesters of drawing are required in addition to the major studios. A student must take either two semesters of Drawing for Painting Majors, two semesters of Drawing into Print, or one of each. These courses are used to establish links between the instinct to draw, and the conceptual and physical processes that form the basis of painting. As students progress through the program, they are introduced to advanced painting techniques and processes, with an emphasis on theme development and experimentation with the form and content of painting. The central structure of the program is built on individual and group critiques. Painting majors are given their own individual space in a communal studio space. The FA2D department provides Painting students with the benefits of a solid foundation within traditional and contemporary discourse, and the opportunity to evolve as part of a collaborative community. It is invested in fostering a wide range of sensibilities, and promotes each student's critical responsiveness and independence. Students meet for ten hours of class time each week, and are expected to work in their studios for an additional six to twelve hours per week. They work in groups of sixteen or less in the same studio area, sharing ideas and resources. Critiques, slide lectures, and visiting artist presentations also are important components of the program.

Painting Courses teach basic painting techniques, from stretching canvas to representing pictorial space on a flat ground, as well as advanced processes for developing themes and experimenting with the form and content of painting. Critiques, slide lectures, and visiting artist presentations complement studio time.

The printmaking program introduces students to a range of traditional techniques, while encouraging experimentation with a combination of processes and formats. Students in the printmaking program take one course in painting, and courses in etching, lithography, silkscreen, photographic print processes, and drawing. They also learn monotype and woodcut, as well as color separation for digital techniques. In a 9,000-square-foot common studio, students benefit from individualized attention from faculty and exposure to ideas generated by their classmates. Printmakers are required to take one semester of drawing in addition to the major studios and electives; a student must take either Drawing into Print or Drawing for Painting Majors. Junior and senior printmaking majors meet together with their instructors for ten hours per week. In the fall and spring semesters, sophomore majors participate in a 3-credit studio seminar. An active visiting artist program provides supplemental workshops and technical demonstrations, as well as individual critiques. In addition, the annual Master Print Series affords an opportunity for students to collaborate with classmates, faculty, and a visiting artist to produce professional-level editions for the artist. The series usually occurs over an intense four-day period and involves complex problem-solving, including the layering of multiple techniques.

Printmaking Courses instruct students in etching, lithography, silkscreen, and photographic print processes as well as drawing. Students also learn to apply the latest computer technology and materials, including digital imaging and color separation, to augment traditional printmaking approaches.

Fine Arts 2D Faculty

James Cambronne, Professor BA, Augustana College MFA, Yale University

Catarina Coelho, Visiting Lecturer MA, University of Lisbon, Portugal MFA, Massachusetts College of Art & Design

Randy Garber, Visiting Lecturer BA, Boston University MLA, University of Wisconsin

Fred Liang, Professor BFA, University of Manitoba MFA, Yale University

Jessica Tam, Assistant Professor BFA, The School of the Art Institute of Chicago MFA, Yale University

Painting Requirements

Total Credits: 30 Sophomore Year Major Requirements 2DPA205 Sophomore Painting 6 cr. Fall 2DPA206 Sophomore Painting 6 cr. Spring 2DPA201 Sophomore Drawing 3cr. Fall/Spring Studio Electives 6 cr. Fall/Spring Liberal Arts and Art History Requirements LALW200 Literary Traditions 3 cr. Fall/Spring HART - History of Art Elective 3 cr. Fall/Spring LASS - Social Science Elective 3 cr. Fall/Spring LAMS - Math/Science Elective 3 cr. Fall/Spring

Total Credits: 30 Junior Year Major Requirements 2DPA305 Junior Painting 6 cr. Fall 2DPA306 Junior Painting 6 cr. Spring Studio Electives 6 cr. Fall/Spring 2DPA335 Drawing for Painting Majors 3 cr. Fall/Spring

OR 2DPM367 Drawing to Print 3 cr. Fall and Spring

Total Credits: 30 Senior Year Major Requirements 2DPA405 Senior Painting 6 cr. Fall

2DPA406 Senior Painting 6 cr. Spring Studio Electives 6 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 6 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring

Total Credits: 30

Printmaking Requirements Foundation Year Major Requirements SFDN181 Studio for Drawing 3 cr. Fall SFDN182 Visual Language 3 cr. Fall SFDN185 Drawing Projects 3 cr. Spring SFDN191 Time 3 cr. Spring SFDN183 Form Study 3 cr. Fall/Spring Studio Elective 3 cr. Fall/Spring

Total Credits: 30 Sophomore Year Major Requirements 2DPM265 Sophomore Printmaking I 3cr. Fall Only 2DPM260 Beginning Etching 3 cr. Fall and Spring 2DPM270 Beginning Lithography 3 cr. Fall and Spring 2DPM280 Beginning Silkscreen 3 cr. Fall and Spring OR 2DPM281 Contemporary Printmaking 3 cr. Spring 2DPM266 Sophomore Printmaking II 3 cr. Spring Studio Elective 3 cr. Fall/Spring 2DPA - Painting Elective 3 cr. Fall/Semester

Total Credits: 30 Junior Year Major Requirements 2DPM305 Junior Printmaking Major 6 cr. Fall 2DPM306 Junior Printmaking Major 6 cr. Spring 2DPM367 Drawing to Print 3 cr. Fall and Spring

OR 2DPA335 Drawing for Painting Majors 3 cr. Fall/Spring Studio Electives 6 cr. Fall/Spring

Senior Year Major Requirements 2DPM405 Senior Printmaking Major 6 cr. Fall 2DPM406 Senior Printmaking Major 6 cr. Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 6 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring

Total Credits: 30

Fine Arts 3D No matter their medium of choice, students in Fine Arts 3D are encouraged to push the boundaries of their creativity and the disciplines in which they work. The Fine Arts 3D Department is dedicated to the creation of the artistic object in one of five media: ceramics, fibers, glass, metals, or sculpture.

Students begin with the study of structure, form-making, idea development, tool handling, and studio safety. They then advance to classes that develop and refine their aesthetic vision and build their technical, conceptual, and critical skills in their chosen medium.

Jewelry and Metalsmithing Courses cover all major metalworking techniques, from wax casting to die forming.

Fibers Courses instruct students in weaving, surface design, hand papermaking, interlacing, dyeing, constructions, and collage.

Glass Courses teach a variety of hot and cold fabrication techniques for creating both vessels and sculptural forms.

Sculpture Courses help students develop skills in moldmaking, foundry, woodworking, and welding, as well as in building processes using various media.

Ceramics Courses focus on ceramic casting, architectural ceramics, and clay and glaze materials.

Students gain first-hand knowledge about professional artists working in various 3D media through field trips to area studios, galleries, and museums, as well as through a vibrant program of topical symposia and visiting artists. Fine Arts 3D faculty are working artists with close ties to the contemporary art world in Boston and beyond. Fine Arts 3D Faculty

Rick Brown, Professor BFA, University of Georgia MFA, Washington University in Saint Louis M. Arch, Harvard University

Matthew Hincman, Associate Professor BFA, Massachusetts College of Art and Design MFA, University of California San Diego

Judith Leeman, Assistant Professor BA, University of Virginia MFA, School of the Art Institute of Chicago

Janna Longacre, Professor BA, Rhode Island School of Design MFA, University of Michigan

James Mcleod, Associate Professor BFA, California College of Art MFA, New York University

Benjamin Ryterband, Professor BA, Antioch College MFA, Rhode Island School of Design

Chuck Stigliano, Professor BFA, Philadelphia College of Art MFA, University of North Carolina

Heather White, Associate Professor BFA, Rhode Island School of Design MFA, Suny New Paltz

Fine Arts 3D Requirements

Ceramics Students in the ceramics program explore contemporary and traditional approaches to both sculpture and vessel- making.

The ceramics program teaches students the basic techniques of hand building, wheel working, mold making, glazing, and kiln-firing. The program includes work in ceramic casting, architectural ceramics, and clay and glaze materials. Advanced seminars provide an opportunity to discuss current contemporary art-making issues in clay. Students research the topics and artists important to their own development, and visiting artists, slide lectures, studio visits, and exhibitions enrich classroom discussions. Students also have opportunities to help mount installations that incorporate multiple media and conceptual issues. Facilities include six large electric kilns, four large gas-fired kilns, and ample studio space for students to have their own worktables.

Total Credits: 30 Sophomore Year Major Requirements 3DTD201 Projects in Wood 3 cr. Fall/Spring 3D Elective from Ceramics, Fibers, Glass, or Metal 3 cr. Fall/Spring Studio Electives 6 cr. Fall/Spring 200 level Ceramics Electives 6 cr. Fall/Spring

Liberal Arts and Art History Requirements LALW200 Literary Traditions 3 cr. Fall/Spring HART - History of Art Elective 3 cr. Fall/Spring LASS - Social Science Elective 3 cr. Fall/Spring

LAMS - Math/Science Elective 3 cr. Fall/Spring

Total Credits: 30

Junior Year Major Requirements 3DCR300 3D Seminar: Ceramics 3 cr. Fall 3DCR350 Adv.Studio: Ceramics 3 cr. Fall 3DCR301 3D Seminar: Ceramics 3 cr. Spring 3DCR351 Adv.Studio: Ceramics 3 cr. Fall/Spring Studio Electives 9 cr. Fall/Spring

Total Credits: 30 Senior Year Major Requirements 3DTD400 FA3D Senior Seminar 3 cr. Fall 3DCR450 Adv.Studio: Ceramics 3 cr. Fall 3DCR401 3D Seminar: Ceramics 3 cr. Spring 3DCR451 Adv.Studio: Ceramics 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 6 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring

Total Credits: 30

Fibers One of the world’s oldest art forms, fiber is a rich source of creative inspiration. The fibers program teaches students both traditional and innovative techniques for working with fiber in two and three dimensions. Courses are offered in weaving, surface design, hand papermaking, interlacing, dyeing, constructions, and collage. Students are encouraged to investigate fibrous materials for their potential as sculptural, architectural, and functional objects and for their use in mixed-media installations and site-specific environments. Advanced seminars provide an opportunity to discuss current contemporary art-making issues in fibers. Students research the topics and artists important to their own development, and visiting artists, slide lectures, studio visits, and exhibitions enrich classroom discussions. The program emphasizes creative approaches to design, the use of new media including computer applications, and the accumulation of technical knowledge. Facilities include a room dedicated to papermaking and space for the construction of large-scale fiber projects.

Liberal Arts and Art History Requirements FRSM100 First-Year Seminar 3 cr. Fall/Spring HART100 Introduction to Western Art 3 cr. Fall HART - History of Art Elective 3 cr. Spring LALW100 Thinking, Making, Writing: Using Words with Clarity and Flair 3 cr. Fall/Spring Total Credits: 30 Sophomore Year Major Requirements 3DTD201 Projects in Wood 3 cr. Fall/Spring 3DFB - Fibers Electives 3 cr. Fall/Spring Studio Electives 6 cr. Fall/Spring 200 Level-Fibers Electives 6cr. Fall/Spring

Total Credits: 30 Junior Year Major Requirements 3DFB300 3D Seminar: Fibers 3 cr. Fall 3DFB350 Adv. Studio: Fibers 3 cr. Fall 3DFB301 3D Seminar: Fibers 3 cr. Spring 3DFB351 Adv. Studio: Fibers 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Total Credits: 30 Senior Year Major Requirements 3DTD400 FA3D Senior Seminar 3 cr. Fall 3DFB450 Advanced Fibers Studio 3 cr. Fall 3DFB401 3D Seminar: Fibers 3 cr. Spring 3DFB451 Advanced Fibers Studio 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 6 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring

Total Credits: 30

Glass The glass program encourages students to experiment with glass as a medium for individual expression, through the creation of vessels and sculptural forms. The glass program introduces students to technical processes such as glassblowing, hot pour casting, and cold glass fabrication, as well as kiln-related processes such as fusing, slumping, and casting. In recognition of the centuries-old glassmaking tradition, students also gain an understanding of

historical glass techniques and how they inform current practices. The well-ventilated glass shed includes separate rooms for working with hot and cold processes and includes equipment used to cut, grind, polish, drill, and sandblast glass. Advanced seminars and glass studio provide an opportunity to discuss current contemporary art-making issues in glass. Students research the topics and artists important to their own development, and visiting artists, slide lectures, studio visits, and exhibitions enrich classroom discussions. Foundation Year Major Requirements SFDN181 Studio for Drawing 3 cr. Fall SFDN182 Visual Language 3 cr. Fall SFDN185 Drawing Projects 3 cr. Spring SFDN191 Time 3 cr. Spring SFDN183 Form Study 3 cr. Fall/Spring Studio Elective 3 cr. Fall/Spring

Total Credits: 30

Sophomore Year Major Requirements 3DGL231 Glassblowing 3 cr. Fall 3DGL232 Cold Glass Techniques 3 cr. Spring 3DTD201 Projects in Wood 3 cr. Fall/Spring Studio Electives 6 cr. Fall/Spring 3D Elective 3 cr. Fall/Spring

Total Credits: 30 Junior Year Major Requirements 3DGL300 3D Seminar: Glass 3 cr. Fall 3DGL350 Adv.Studio: Glass 3 cr. Fall 3DGL301 3D Seminar: Glass 3 cr. Spring 3DGL351 Adv.Studio: Glass 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements LALW - Lit/Writ/Film Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or Math/Sci Elective 3 cr. Fall/Spring HART - History of Art, Social Science, Lit/Writ/Film or Math/Sci elective 3 cr. Fall/Spring or LA-SS/LW/MS - History of Art, Social Science, Lit/Writ/Film or Math/Science elective 3 cr. Fall/Spring

Total Credits: 30 Senior Year Major Requirements 3DTD400 FA3D Senior Seminar 3 cr. Fall 3DGL450 Adv.Studio: Glass 3 cr. Fall 3DGL401 3D Seminar: Glass 3 cr. Spring

3DGL451 Adv.Studio: Glass 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 6 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring

Total Credits: 30

Jewelry and Metalsmithing Through the creation of jewelry, functional objects, and sculpture, students in the metals program give form to their artistic vision. The metals program combines direct practice with conceptual problem solving. Students explore the methods and motives behind both traditional and contemporary metal work, learning how objects are informed by their historical contexts. Coursework is offered in all major metalworking techniques, including vacuum and centrifugal lost wax casting, vulcanized and silicone mold processes, hydraulic press techniques and die forming, and three- dimensional modeling and CNC milling. Students also learn to construct jewelry from both base and precious materials. Facilities available to students in the metal program accommodate working welding, fabrication, machine tool and foundry processes, and blacksmithing.

Total Credits: 30 Sophomore Year Major Requirements 3DML210 Beginning Metal 3 cr. Fall 3DML220 Intermediate Metals 3 cr. Spring 3DTD201 Projects in Wood 3 cr. Fall/Spring Studio Electives 6 cr. Fall/Spring 3D Elective 3 cr. Fall/Spring

Total Credits: 30 Junior Year Major Requirements 3DML350 Adv.Studio: Metals 3 cr. Fall 3DML300 3D Seminar: Metals Fall Only 3DML301 3D Seminar: Metals 3 cr. Spring 3DML351 Adv.Studio: Metals 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements LALW - Lit/Writ/Film Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 6 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring

Total Credits: 30

Senior Year Major Requirements 3DTD400 FA3D Senior Seminar 3 cr. Fall 3DML450 Adv.Studio: Metals 3 cr. Fall 3DML401 3D Seminar: METALS 3 cr. Spring 3DML451 Adv.Studio: Metals 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring HART - History of Art, Social Science, Lit/Writ/Film or Math/Sci elective 3 cr. Fall/Spring or LA-SS/LW/MS - History of Art, Social Science, Lit/Writ/Film or Math/Science elective 3 cr. Fall/Spring

Total Credits: 30

Sculpture Whatever their chosen medium, students passionate engagement in art making is key to their success in the sculpture program. The sculpture program offers instruction in working with a wide range of media, including stone, wood, mixed media, glass, fiber, and metal. Students develop familiarity with technical processes including mold- making, foundry, woodworking, and welding, as well as with building processes using various media. In addition to this practical knowledge, students gain an understanding of conceptual and installation issues affecting their chosen medium. To enhance student’s familiarity with form, the program emphasizes cross-disciplinary study. Students who elect to study figurative sculpture and anatomy, for example, are encouraged to take studio courses in movement. Students interested in kinetic and/or multimedia works explore computer-controlled devices and other new technologies. Advanced seminars and “theme classes” explore issues common to all three-dimensional arts, such as narrative, functionality in art and design, mixed media, installation, public art, and art as object and image.

Sophomore Year Major Requirements 3DTD201 Projects in Wood 3 cr. Fall/Spring

Studio Electives 6 cr. Fall/Spring 3D Elective from Ceramics, Fibers, Glass, or Metals 3 cr. Fall/Spring 3DSC - 200 Level Sculpture Electives 6 cr. Fall/Spring

Total Credits: 30 Junior Year Major Requirements 3DSC300 3D Seminar: Sculpture 3 cr. Fall 3DSC350 Adv.Studio: Sculpture 3 cr. Fall 3DSC301 3D Seminar: Sculpture 3 cr. Spring 3DSC351 Adv.Studio: Sculpture 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements LALW - Lit/Writ/Film Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or Math/Sci Electives 3 cr. Fall/Spring HART - History of Art, Social Science, Lit/Writ/Film or Math/Sci elective 3 cr. Fall/Spring or LA-SS/LW/MS - History of Art, Social Science, Lit/Writ/Film or Math/Science elective 3 cr. Fall/Spring

Total Credits: 30 Senior Year Major Requirements 3DTD400 FA3D Senior Seminar 3 cr. Fall 3DSC450 Adv.Studio: Sculpture Not on Web 3 cr. Fall 3DSC401 3D Seminar: Sculpture 3 cr. Spring 3DSC451 Adv.Studio: Sculpture 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring

Total Credits: 30

Graduate Program MassArt's Graduate Programs offer US News & World Report's #1 rated MFA in Massachusetts and one of the top 25 programs in the country. MassArt's campus in downtown Boston offers more than 1,000,000 square feet of studios, workshops and galleries within walking distance of three world-class museums

MassArt has a long heritage of excellence, as well as an extremely selective admissions process. We are proud of our world-class faculty and visiting artists and our state-of the-art facilities. The opportunity to work and create in a diverse community of innovative, hard-working artists, designers, and educators fosters a learning environment that encourages multidisciplinary practice and dialogue-a central value of the graduate programs at MassArt. This belief, shared across programs, creates a supportive space in which students can fully develop their vision. In addition to coursework within their studio concentrations, all graduate students take critical theory coursework with both a historical and a contemporary focus. These courses use the art and design communities of Boston and beyond as the venues for classroom exploration.

Founded in 1873, MassArt was the first degree-granting college of art in the nation and remains unique today as the only free- standing, publicly funded college of art in the United States. MassArt has a long heritage of excellence as well as an extremely selective admissions process. We are proud of our world-class faculty and visiting artists, our state-of-the-art facilities, and our 1,000,000 square feet of studio, classroom, and exhibition space. MassArt is a supportive home to a diverse community of innovative, hard-working artists. We invite you to consider joining us and contributing to this inspiring and vibrant environment.

MA (Master of Arts) The BFA/MA qualifies MassArt Art Education students to apply for the Massachusetts initial teaching license. After three years of teaching on the initial teaching license, graduates may apply for a Massachusetts professional teaching license without further coursework. MassArt students who are earning their BFA in Art Education may apply for this MA program in the spring term before they would have taken the student teaching practicum. They arrange to graduate at the end of that spring term with 120 credits, having passed required 3-credit teaching internship but without completing the 6-credit student teaching practicum, which is undertaken as part of the MA program of study. The MA program begins in the summer that immediately follows their 120-credit BFA graduation. International students are not eligible for this program when AETE 654 and AETE 549 are both offered online.

Summer AETE545 Designing Curriculum 3cr AETE647 Studio Investigations 3cr AETE648 Teaching in New Media 3cr

Fall AETE652 Social and Cultural Contexts for Art Education 3cr AETE654 Problems in Aesthetics 3cr Open Elective 3cr

Spring AETE522 Student Teaching Practicum II 3cr AETE549 Artist Teacher Studio 3cr AETE644 Concepts and Processes 3cr

MAT (Master of Art in Teaching) The BFA/MAT qualifies MassArt BFA students who are not Art Education majors to apply for the Massachusetts initial teaching license. After three years of teaching with the initial teaching license, graduates may apply for a Massachusetts professional teaching license without further coursework.

MassArt BFA students who are not majors in Art Education may apply for the BFA/MAT in the Spring term of their senior year after completing three required undergraduate courses in Art Education. Accepted candidates begin their graduate work in the summer that immediately follows their BFA graduation. . Summer AETE545 Designing Curriculum 3cr AETE647 Studio Investigations 3cr AETE648 Teaching in New Media 3cr

Fall AETE543 Saturday Studios Pre-Practicum II 3cr AETE652 Social and Cultural Contexts for Art Education 3cr AETE654 Problems in Aesthetics 3cr

Spring AETE546 Student Teaching Practicum 6cr AETE549 Artist Teacher Studio 3cr AETE644 Concepts and Processes 3cr

11/15/2020 Program: M.Arch (Master of Architecture) - Massachusetts College of Art and Design - Acalog ACMS™ academic- catalog.massart.edu/preview_program.php?catoid=10&poid=420&print 1/3

M.Arch (Master of Architecture) Architecture at MassArt is foremost a social art, with a hands-on approach to building, gaining its strength from MassArt’s legacy as an educational institution that provides affordable access to students from diverse backgrounds. Beginning in the first summer of Track I, the program connects history, drawing, structure, hands-on fabrication, and responsibly created design to focus students on a path to develop three essential attributes: their individuality, a strong ability to collaborate, and a shared sense of values. Each faculty member is committed to combining education and practice to reinforce these values. The curricular building blocks are expressed through the development of studios centered on emerging subjects and trends in the architectural profession. Students acquire skills that are applied through collaborations with the community, offering an opportunity to engage with the public. The focus on making, along with the department’s commitment to current challenges in the built environment, aligns with the public mission of our school. Within this context the program has developed initiatives with the non-profit community in the greater Boston area, and over several years the department has collaborated with community partners on the creation of design options, construction, and development of projects. These partnerships are central to the development of architects who are socially responsible citizens.

The program offers electives that appeal across departments, augmenting the College’s 3D fine arts offerings, and providing students access to superior shop facilities and new shop equipment, such as the laser cutter with current software, 3-D printers, and a range of computer labs. Additional support for students is provided through course assistants and lab/shop monitors. Collaboration, shared values, and mutual support for project-based learning allows students to evolve strategies that engage a complex set of skills to inform their projects.

Track 1: a 2.5-year program for students with an undergraduate degree outside the field of architecture (102 credits). This Track includes preprofessional coursework (42 credits) followed by professional coursework (60 credits), and may be completed in eight continuous terms including three summers.

Track 2: a 2-year program of professional coursework for students with an undergraduate degree in architecture (60 credits). This program may be completed in five continuous semesters including two summers.

Pre-Professional (Track 1) Summer EDAD502 Methods and Materials 3cr EDAD510 Architectural Design I 3cr EDAD517 Architectural Design I 3cr

Fall EDAD511 Digital Tools 3cr EDAD516 History of Architecture& Urban Planning I 3cr EDAD520 Architectural Design II 3cr EDAD527 Architectural Structures II 3cr EDAD532 Sustainable Architecture 3cr Professional Elective 3cr

Spring EDAD526 History of Architecture and Urban Planning II 3cr EDAD530 Architectural Design III 3cr EDAD535 Professional Practice I 3cr EDAD567 Building Operating Systems 3cr Professional Elective 3cr

Professional (Tracks 1 and 2) Summer 1 EDAD605 Community Build Studio 12cr

Fall 1 EDAD577 Structures Overview 3cr EDAD702 Architectural Design VII 6cr EDAD711 Making Cities Work 3cr EDAD720 Integrated Systems 3cr Professional Elective 3cr

Spring 1 EDAD708 Thesis I 6cr EDAD752 Architectural Design VIII 6cr Adv. Architectural History, Theory & Criticism Seminar 3cr Professional Elective 3cr

Summer 2 This term is optional. Students may take a professional elective or internship.

Fall 2 EDAD805 Professional Practice II 3cr EDAD808 Thesis II 6cr Professional Elective on Making 3cr

MAT (Masters of Art in Teaching/Art Education) The Master of Arts: Teaching/Art Education program (36 credits) prepares students to earn an Initial Teacher License in Massachusetts, while also providing the Master’s level coursework requirements for a Professional Teaching License. This is the optimal program for students who possess a strong background in studio work and want to teach in PK-12 public or private schools, museums, social service, or community agencies.

Fall I AETE541 Issues and The Individual Learner 3cr AETE542 Saturday Studios Pre-Practicum I 3cr AETE640 Art and Human Development 3cr

Spring I AETE543 Saturday Studios Pre-Practicum II 3cr AETE654 Problems in Aesthetics 3cr Open Elective 3cr

Summer AETE545 Designing Curriculum 3cr AETE647 Studio Investigations 3cr AETE648 Teaching in New Media 3cr Fall II AETE546 Student Teaching Practicum 6cr AETE644 Concepts and Processes 3cr

MDES (Master of Design: Design Innovation Program) The Master of Design: Design Innovation (MDes) program at MassArt is a full-time, two-year (60 credit hours) graduate program that prepares the next generation of innovators to lead organizational and social transformation at corporations, nonprofits, educational institutions, and entrepreneurial ventures.

Semester 1 MDES601 Experience Design Lab I 3cr Fall MDES602 Storytelling & UX Design 3cr Fall MDES603 Design Innovation Lab I 3cr Fall MDES604 Financial Managerial Accounting for Designers 3cr Fall MDES605 Offsite Team Building Retreat 1cr Fall Open Studio Elective

Semester 2 MDES611 Experience Design Lab II 3cr Spring MDES612 Integration Lab A 3cr Spring MDES613 Business Models& Stakeholders 3cr Spring MDES614 Brand Development 3cr Spring Open Studio Elective

Semester 3 MDES701 Market Insight Lab I 3cr Fall MDES702 Integration Lab B 3cr Fall MDES703 Thesis Project I 3cr Fall MDES704 Business Plan “Sustainability” 3cr Fall MDES705 Offsite Team Building Retreat 1cr Fall Open Studio Elective 3cr

Semester 4 MDES711 Leadership Design Lab 3cr Spring MDES712 Integration Lab C 3cr Spring MDES713 Thesis Project II 3cr Spring MDES714 Organizational Behavior 3cr Spring MDES715 Thesis Defense 1cr Spring

MFA 2D Fine Arts The two-year (60 credit) MFA: 2D Fine Arts program fosters an intensive environment in which artists pursue their work in painting, printmaking, drawing, mixed-media, and installation formats and focuses on painting and printmaking as specific disciplines but also encourages the student’s own practical exploration

Semester 1 FA2D601 Fine Arts 2-D Major Studio I 6cr Fall GRAD601 Graduate Seminar 3cr Fall HART680 Graduate Contemporary Art 3cr

Fall Studio Elective 3cr Semester 2 FA2D602 Fine Arts 2-D Major Studio II 6 cr GRAD602 Graduate Seminar 3cr Spring Liberal Arts, History of Art or, Art Education Elective 3cr Studio Elective 3cr Semester 3 FA2D701 Fine Arts 2-D Major Studio III 6cr Fall Open Elective 6cr Studio Elective 3cr Semester 4 FA2D702 Fine Arts 2-D Major Studio IV 6 or 9cr Spring Studio Elective 3cr or 6cr Liberal Arts, Histroy of Art, or Art Education Elective 3cr

MFA 3D (General, Fibers, and Metals) The two-year (60 credit) MFA: 3D Fine Arts program offers students the opportunity to do a medium-specific sculptural deep-dive, using our exceptional facilities in glass, clay, wood, metal and more. At the same time, the program is committed to a broad understanding of 3D, and students with an expanded sense of practice are encouraged to explore technology, performance, and the moving image as possible vehicles for their ideas.

Semester 1 FA3D601 Fine Arts 3D Major Studio I 6cr Fall GRAD601 Graduate Seminar 3cr Fall HART680 Graduate Contemporary Art 3cr Fall Studio Elective 3cr

Semester 2 FA3D602 Fine Arts 3D Major Studio II 6cr Spring GRAD602 Graduate Seminar 3cr Spring Liberal Arts, History of Art or, Art Education Elective 3cr Studio Elective 3cr

Semester 3 FA3D701 Fine Arts 3D Major Studio III 6cr Fall Open Elective 6cr Studio Elective 3cr

Semester 4 FA3D702 Fine Arts 3D Major Studio IV 6 or 9cr Spring Studio Elective 3cr or 6cr Liberal Arts, Histroy of Art, or Art Education Elective 3cr

MFA Design The 60-credit DMI MFA in Design enables students to pursue their degree through a rigorous practice of research, prototyping, and writing. The program prepares students for high-level creative positions at innovative agencies, design firms, startups, and digital companies and qualifies them to teach at the university level. The MFA may be earned in a full-time two-year track or spread over three years, offering students flexible pathways through the program

Semester 1 DSGN601 Design Studio I 6cr Fall DSGN611 Design Seminar I 3cr Fall Open Elective 3cr Studio Elective in Major 3cr

Semester 2 DSGN602 Design Studio II 6cr Spring DSGN612 Design Seminar II 3cr Spring Open Elective 3cr Studio Elective 3cr

Semester 3 DSGN701 Thesis Project I 6cr Fall DSGN711 Thesis Seminar I 3cr Fall Open Elective 3cr Studio Elective in Major 3cr

Semester 4 DSGN702 Thesis Project II 6cr Spring DSGN712 Thesis Seminar II 3cr Spring Open Elective 3cr Studio Elective 3cr

Low-Residency in Boston The MFA Low Residency program is a 60 cr graduate program. MFA Low Residency Students develop an independent body of work, which could involve a combination of media, technologies, and techniques. Six-week summer residencies in Boston immerse students in an intense studio environment and foster creative collaborations. During these residencies, students live on campus in the Artists’ Residence or in off-campus housing of their choosing. Between residencies, students work under the guidance of a regionally based artist/mentor who conducts monthly studio visits and critiques. Online art history and critical studies courses forge greater understanding of contemporary art history and issues in contemporary studio practice, and strengthen the cohort through interactive discussion space. At the conclusion of the program, students present thesis exhibitions and participate in final reviews on campus.

Summer 1 - Residency 8 credits GRAD610 Major Studio 1 3cr GRAD613 Graduate Seminar 1 2cr Studio Elective or Art Ed Elective 3cr

Fall 1 - Non-Residency 8 credits GRAD617 Mentor Independent Study I 5cr HART682 Artists’ Writings 3cr

Winter 1 - On Campus 1 credit GRAD620 January Critique I 1cr Spring 1 - Non-Residency 8 credits GRAD618 Mentor Independent Study 2 5cr HART681 Art After Modernism 3cr

Summer 2 - Residency 8 credits GRAD710 Major Studio 2 3cr GRAD713 Graduate Seminar 2 2cr Studio Elective or Art Ed Elective 3cr

Fall 2- Non-Residency 8 credits GRAD717 Mentor Independent Study 3 5cr HART685 Topics in Contemporary Art 3cr

Winter 2 - On Campus 1 credit GRAD720 January Critique II 1cr

Spring 2 - Non-Residency 8 credits GRAD718 Mentor Independent Study 4 6cr HART780 Benchmark 3cr

Summer 3 - Residency 9 credits GRAD711 Major Studio 3 3cr GRAD714 Graduate Seminar 3 2cr GRAD721 Thesis Defense 1cr Studio Elective or Art Ed Elective 3cr

MFA Media Arts (Film/Video) The environment in the MFA Film/Video program is highly personalized and intense, developing an informed perspective on film/video that is individual, political, conceptual, abstract, visceral, and visionary, combined with advanced skills in video and film production practices to make the vision real. The Graduate Major Studio in the Film/Video MFA Program focuses on critiques of student work and discussion of various theoretical and contemporary issues in the moving image. The curriculum includes visits with nationally and internationally known film/video artists and curators. Each semester, students may choose a Mentor Advisor from outside the department for consultation on a particular facet of their work. Other program opportunities include cross-registration with MIT and UMass Boston, internships, and teaching assistantships. In addition to screenings and Visiting Artist lectures, the City of Boston offers exceptional cultural, creative and intellectual resources for students.

Semester 1 MPFV601 Major Studio-Filmmaking Sem 1 6cr Fall GRAD601 Graduate Seminar 3cr Fall HART680 Graduate Contemporary Art 3cr Fall Studio Elective 3cr

Semester 2 MPFV602 Major Studio-Filmmaking Sem 2 6cr Spring GRAD602 Graduate Seminar 3cr Spring Liberal Arts, History of Art, or Art Education elective 3cr Studio Elective 3cr

Semester 3

MPFV701 Major Studio-Filmmaking Sem 3 6cr Fall Studio Elective 3cr Open Electives 6cr

Semester 4 MPFV702 Major Studio-Filmmaking Sem 4 6 or 9cr Spring Studio Electives 3 or 6 cr Liberal Arts, History of Art, or Art Education elective 3cr

MFA Media Arts (Photography) MassArt’s 60 credit, full-time MFA: Media Arts (Photography) explores the medium as a fine art with an emphasis on personal vision, technical excellence, and experimentation. The history of photography, critical theory and contemporary multi-disciplinary practice will be explored.

Semester 1 MPPH601 Major Studio-Photography Sem 1 6cr Fall GRAD601 Graduate Seminar 3cr Fall HART680 Graduate Contemporary Art 3cr Fall Studio Elective 3cr

Semester 2 MPPH602 Major Studio-Photography Sem 2 6cr Spring GRAD602 Graduate Seminar 3cr Spring Liberal Arts, History of Art or, Art Education Elective 3cr Studio Elective 3cr

Semester 3 MPPH701 Major Studio-Photography Sem 3 6cr Fall Open Elective 6cr Studio Elective 3cr

Semester 4 MPPH702 Major Studio-Photography Sem 4 6 or 9cr Spring Studio Elective 3cr or 6cr Liberal Arts, History of Art, or Art Education Elective 3cr

History of Art The history of art program teaches students how to investigate works of art from a wide range of periods and regions. A distribution requirement ensures that students have a solid foundation in each of the following four areas:

 Ancient/Medieval  Renaissance/Baroque/18th Century  Modern/Contemporary  Asia/Africa/Indigenous Americas /Oceania After fulfilling the requirement, students then may choose to focus their studies on a particular area of art history. All history of art students take at least two senior seminars investigating focus topics in the history of art.

MassArt's visiting artist program and exhibitions of contemporary art encourage students to contemplate the historical and cultural context of work being created in our own time.

History of Art majors continue on to graduate programs in art history, visual culture, and museum studies; work in museums, galleries, auction houses, and publishing; and use their knowledge of the history and theory of art to enrich their studio practice. History of Art Faculty

Adrian Kohn, Professor AB, Georgetown University MA, School of The Art Institute of Chicago PhD, University of Texas

Joanne Lukitsh, Professor BA, Wesleyan University MA, University of New Mexico PhD, University of Chicago

David Nolta, Professor BA, University of Michigan MA, University of Chicago MA, MPhil, PhD, Yale University

John Russell, Professor BA, Washington University in St. Louis MA, University of Pennsylvania PhD, University of Pennsylvania

Ezra Shales, Professor BA, Wesleyan University MFA Hunter College PhD Bard Graduate Center for Studies in the Decorative Arts, Design and Culture

Margaret Turner, Professor AB, Wellesley College PhD, University of Rochester

Shou-Chih Yen, Professor BA, National Taiwan Normal University MA, National Taiwan University PhD, Yale University

History of Art Requirements

Total Credits: 30 Sophomore and Junior Year Major Requirements *Choose one course from each of the following: Ancient or Medieval-3 cr. Renaissance or Baroque-3 cr. Modern or Contemporary-3 cr. Asia/Africa/Indigenous Americas/Oceania-3 cr. 400 level History of Art seminar-3 cr. HART-History of Art Elective-3 cr.

Senior Year Major Requirements 400 level HART seminar - 3 cr. HART- History of Art electives - 6cr.

Liberal Arts: Sophomore-Senior Year LALW200 Literary Traditions 3 cr. Fall/Spring LASS-Social Science Elective-3 cr. LALW-Literature/Writing/Film Criticism-3 cr. LAMS-Math or Science-3 cr. LA - Liberal Arts - 9 cr. Summative Elective- Take one 400 level course from Liberal Arts-3 cr.

Studio Electives: Sophomore-Senior Year Studio Electives - 39 credits

Illustration The illustration program teaches students how to create pictorial interpretations of ideas or narratives for reproduction in print, electronic, and time-based media. Students research and develop ideas, characters, stories, and settings.

As a result of the program's emphasis on drawing from observation, students learn to render images in a range of media and acquire skills in developing a variety of visual concepts. They also learn to use electronic media to explore compositional elements of time, movement, and sound.

Coursework culminates in a degree project consisting of a body of images revealing the student's emerging style and personal point of view. Graduating seniors exhibit their project work and present their portfolio to invited professionals from publishing, editorial, advertising, institutional, and corporate markets.

All faculty members either work as freelance illustrators or run their own illustration businesses. Illustration Faculty

Scott Bakal, Associate Professor BFA, School of the Visual Arts MFA, University of Hartford MA, Syracuse University

Suzanne Barnes, Professor BFA, School of the Museum of Fine Arts MFA, School of the Museum of Fine Arts

Wesley Bedrosian, Assistant Professor BFA, Kent State University MFA, School of Visual Arts

Alex Gerasev, Assistant Professor BFA, The Repin School of Painting, Sculpture and Architecture

James Chris Goodwin, Assistant Professor BFA, Massachusetts College of Art and Design

Lisa Kennedy, Assistant Professor BA, Roger Williams University MFA, Massachusetts College of Art and Design

Robert Maloney, Assistant Professor BFA, Massachusetts College of Art and Design MFA, Massachusetts College of Art and Design

Irena Roman, Professor BFA, Massachusetts College of Art MFA, Syracuse University

Wojciech Wolynski, Professor MFA, State Academy of Fine Art - Poznan, Poland

Malgorzata Zurakowska, Associate Professor MFA, Academy of Fine Arts - Cracow, Poland

Illustration Requirements

Total Credits: 30 Sophomore Year Major Requirements CDIL205 Media Techniques 3 cr. Fall & Spring CDIL215 Sophomore Illustration 3 cr. Spring CDIL211 Human Figure in Illustration 3 cr. Fall/Spring CDIL208 Digital Illustration 3 cr. Fall/Spring CDIL216 Color for Illustrators 3 cr. Fall/Spring CDIL214 Drawing: Observation to Concept 3 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LASS - Social Science Elective 3 cr. Fall/Spring LAMS - Math/Science Elective 3 cr. Fall/Spring LALW200 Literary Traditions 3 cr. Fall/Spring

Total Credits: 30 Junior Year Major Requirements CDIL304 Advanced Drawing Projects for Illustrators 3 cr. Fall & Spring CDIL305 Word and Image 3 cr. Fall & Spring CDIL326 Junior Illustration 3 cr. Fall & Spring CDIL327 Technical Illustration 3 cr. Fall/Spring Studio Electives 12 cr. Fall/Spring

Total Credits: 30 Senior Year Major Requirements CDIL403 Thesis Project I: Research 3 cr. Fall CDIL404 Thesis Project II: Imagery 3 cr. Fall CDIL419 Senior Illustration 3 cr. Spring CDIL420 Illustration Portfolio 3 cr. Spring Studio Electives 6 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or Math/Sci Elective 3 cr. Fall/Spring

Total Credits: 30

Industrial Design The Industrial Design undergraduate program empowers students to become creative, holistic problem solvers who impact our society through the development of meaningful and relevant designed products and experiences. By employing a user-centered design and iterative approach to exploring ideas, students utilize empathic integration of social and functional needs when considering materials and manufacturing options for concept development. Visual and verbal communication skills are a hallmark of the program, allowing our students to understand and pragmatically convey the value of design to business, communities and people.

Industrial Design Faculty

Judith Anderson, Associate Professor Bsme, Carnegie Mellon University MA, Royal College of Art

Lars Fischer, Professor BFA, University of Michigan MBA, Suffolk University

James Read, Professor BFA, Maryland Institute College of Art MFA, Rochester Institute of Technology

Heather Reavey, Assistant Professor BID, Syracuse University

Industrial Design Requirements

Total Credits: 30 Sophomore Year

Major Requirements EDID215 Industrial Design Principles 3 cr. Fall EDID225 Industrial Design Form 3 cr. Fall EDID235 Manufacturing Process I 3 cr. Spring EDID245 Human Factors Seminar I - Ergonomics 3 cr. Spring Studio Electives 6 cr. Fall/Spring EDID205 Drawing for Designers 3 cr. Fall/Spring

Junior Year Major Requirements EDID216 Introduction to CAD/Solid Modeling for ID 3 cr. Fall & Spring EDID315 Industrial Design I 3 cr. Fall EDID325 Manufacturing Process II 3 cr. Fall EDID345 Industrial Design II 3 cr. Spring EDID355 Professional Practice:Discovering Your Professional Self 3 cr. Spring Studio Elective 3 cr. Fall/Spring

Senior Year Major Requirements EDID415 Industrial Design III 3 cr. Fall EDID425 Degree Project I - Research 3 cr. Fall EDID435 Degree Project II- Development 3 cr. Spring EDID365 Product Development Laboratory 3 cr. Fall/Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and History of Art: Soph-Senior Year LALW200 Literary Traditions 3 cr. Fall/Spring HART297 Roots/Design History 1650-1920 3cr Spring HART-History of Art electives-3 cr. LASS-Social Science elective-3 cr. LALW-Literature and Writing elective-3 cr. LAMS-Math or Science elective-3 cr. LA-Liberal Arts elective-6 cr. LAHART-Liberal Arts or History of Art elective-3 cr. Summative Elective-Take one 400 level course from LALW, LASS, or LAMS-3 cr. 11/15/2020 Program: Industrial Design - Massachusetts College of Art and Design - Acalog ACMS™ academic- catalog.massart.edu/preview_program.php?catoid=10&poid=412&print 3/3

Liberal Arts The Liberal Arts Department offers courses that encourage students to think critically, write effectively, and develop the informed, flexible minds that make art possible. All MassArt students take eight to ten courses in this department.

 Freshman Seminars teach students to read written texts with college-level comprehension skills and to think analytically.

 Literature and Film Criticism teach students to analyze, verbalize and organize ideas that inform verbal or cinematic art.

 Writing Courses teach students to express ideas effectively in writing.

 Social Sciences and History Courses help students develop an historical perspective and deepen their understanding of cultures, psyches, and societies.

 Natural Science Courses teach students to understand scientific methods, principles, and facts.

 Mathematics Courses teach students mathematical logic and the skills necessary for material and structural calculations in design projects.

 Summative Elective A Summative Elective in Liberal Arts is a degree requirement for all BFA students beginning in the fall of 2016. In Summative Elective courses, students undertake research, or scholarship enhanced creative work, treating a topic that individual students focus for themselves. The 400-Level Summative Elective enables students to study a specialized topic of interest to them within one or more Liberal Arts disciplines.

Courses may have a studio component and are conducted as seminar classes.

Students will choose a Summative Elective Seminar with the expectation that they will actively search for a creative connection between the Seminar subject and their previous studio and academic experience, using the serendipity of the choice as a catalyst for new creative insight. The creation of this wider meani ng web will represent a culminating moment in the individual's creative quest.

Liberal Arts Faculty

Cheryl Clarke, Assistant Professor BA, Knox College MFA, University of Iowa

Josh Cohen, Associate Professor BA, Haverford College MA, Boston University PhD, Boston University

Jennie-Rebecca Falcetta BA, Gordon College MA, Baylor University Ph.D, University of Connecticut

Robert Gerst, Professor BA, Wesleyan University MA, University of Pennsylvania PhD, Suny, Buffalo

Alan Gluck, Assistant Professor BA, Trinity College JD of Law, Washington University, St. Louis

Lin Haire-Sargeant, Professor BA, Tufts University MA, Tufts University PhD, Tufts University

Saul Nava, Associate Professor BA, University of Texas MS, University of Texas PhD, Indiana University

Marika Preziuso,Assistant Professor BA, Universita delgi Studi di Salerno MA, University of London (UK) Ph.D, University of London (UK)

Maura Smyth, Assistant Professor BA, University of Maryland MA, Indiana Universiry, Bloomingtom Ph.D, Indiana University, Bloomington

Jasminka Udovicki, Professor BA, University of Belgrade PhD, Brandeis University

Photography

The MassArt Photography Program teaches photography as fine art with an emphasis on personal vision, experimentation, and an understanding of the history of photography and the body of criticism that surrounds it. Students are introduced to a wide array of both film-based and digital tools; they become well-versed in the medium's technical and aesthetic traditions while exploring contemporary directions through slide lectures, gallery visits, guest artists, and critiques. Our curriculum covers both analog and digital production and offers a wide variety of elective courses providing a strong foundation for critical thinking, collaboration, and a career in photographic arts.

A highly respected group of artists form the core faculty of the department, including Barbara Bosworth, Matthew Connors, Kathya Landeros, Laura McPhee, Abelardo Morell (emeritus), Matthew Monteith, and Amani Willett. Their efforts are augmented by a remarkable group of visiting professors. We are proud of our diverse and well-recognized faculty and staff, many of whom have received prestigious fellowships and publish and exhibit worldwide.

Our extraordinary Visiting Artist Lecture Series is an integral part of our curriculum and is open to the whole community. Recent visitors have included An-My Le, Walead Beshty, Dawoud Bey, Elinor Carucci, Charlotte Cotton, William Christenberry, Gregory Crewdson, Lois Conner, Philip-Lorca DiCorcia, Jim Dow, Doug Dubois, Mark Alice Durant, Ruby LaToya Frazier, Emmet Gowin, Katy Grannan, Deana Lawson, Laura Letinsky, Judith Joy Ross, Luc Sante, Stephen Shore, Jem Southam, and Penelope Umbrico.

Our 11,000 square-foot facilities include a three-studio digital facility with large format printers, Flextight scanners, and 40 workstations. Our analog black & white developing and printing areas are central to our curriculum with two large gang darkrooms, individual darkrooms, and a non-silver darkroom. Of special note is the 20x24 Polaroid "Land Camera", built by Edwin Land (1909-91), founder of Polaroid. Only seven of these cameras were ever made and MassArt's is the only one not in commercial use or in a museum.

Our location in central Boston, just blocks away from world famous museums and galleries, invites students to attend exhibitions of contemporary and historical photography and to visit with artists, curators, and gallerists. Photography Faculty

Barbara Bosworth, Professor BS, Bowling Green State University MFA, Rochester Institute of Technology

Matthew Connors, Professor BA, University of Chicago MFA, Yale University

Laura Mcphee, Professor BA, Princeton University MFA, Rhode Island School of Design

Matthew Monteith, Assistant Professor MFA, Yale University

Amani Willett BA, Wesleyan University MFA, School of Visual Arts

Photography Requirements

Total Credits: 30 Sophomore Year Major Requirements MPPH280 Sophomore Studio/Medium Format 6cr Fall and Spring MPPH281 Sophomore Studio/Large Format 6cr Fall and Spring

Liberal Arts and Art History Requirements LALW200 Literary Traditions 3 cr. Fall/Spring LAMS - Math/Science Elective 3 cr. Fall/Spring LASS - Social Science Elective 3 cr. Fall/Spring HART - History of Art Elective 3 cr. Fall/Spring

Total Credits: 30 Junior Year Major Requirements MPPH360 Major Studio: Digital Photography 6 cr. Fall MPPH361 Junior Projects 3 cr. Spring MPPH350 Visiting Artist Seminar 3 cr. Fall/Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or Math/Sci Elective 3 cr. Fall/Spring LALW - Lit/Writ/Film Elective 3 cr. Fall/Spring HART - History of Art, Social Science, Lit/Writ/Film or Math/Science elective 3 cr. Fall/Spring or LA-SS/LW/MS - History of Art, Social Science, Lit/Writ/Film or Math/Science elective 3 cr. Fall/Spring

Total Credits: 30 Senior Year Major Requirements MPPH460 Senior Projects 3 cr. Fall MPPH450 Visiting Artist Seminar 3 cr. Fall

MPPH461 Senior Thesis 3 cr. Spring MPPH450 Visiting Artist Seminar 3 cr. Fall Studio Electives 9 cr. Fall/Spring Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 6 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring

Total Credits: 30

Post-Baccalaureate Program

Dynamic Media Institute Certificate DMI’s graduate certificate is a one-year, 24 to 29-credit, immersive educational program that gives students the opportunity to focus on the role and new uses of dynamic media in communication design. Upon successful completion, students earn a Graduate Post-Baccalaureate certificate in design, and many apply to continue onto the MFA program, transferring up to 6 credits from the Post-Baccalaureate course of study.

DMI Requirements Take 24 to 27 credits approved by the Program Coordinator.

Photography Certificate The Post-Baccalaureate Certificate Program in Photography is an intensive, full-time, one-year course of study for those seeking an advanced level of discourse, both technical and theoretical, about the medium of photography. The program provides an individualized curriculum for students who wish to develop their portfolios and their skills to prepare for future graduate school or as an end in itself.

Students participate in a weekly Major Studio seminar which includes critique, visiting artists, field trips, and meetings with curators and gallerists. In addition, photography post-baccalaureate students enroll in elective photography classes, technical courses, and art history electives.

Students enroll in 24-27 credits in courses approved by the Program Coordinator. A typical schedule is as follows:

Semester 1 MPPH509 Major Studio-Photo Post-Bac 6cr Photography Electives 6cr History of Photography 3cr

Semester 2 MPPH510 Major Studio II-Photo Post-Bac 6cr Photography Electives 3cr History of Photography 3cr

Teacher Preparation Program The Teacher Preparation Program is intended for students who have strong undergraduate backgrounds in studio art and who seek initial licensure as art teachers.

Coursework for this post-baccalaureate program focuses on pedagogical theory as well as on pre-practicum and practicum (fieldwork) experience. Students have the opportunity to teach in MassArt’s Saturday Studios program, designing Saturday morning art classes for students in grades 3 through 12.

TPP Requirements AETE201 Art & Human Development 3 cr. Fall/Spring AETE300 Seminar III: Issues and the Individual Learner 3 cr. Fall/Spring AETE400 Saturday Studios Prepracticum II 3 cr. Fall/Spring AETE407 Student Teaching Practicum 6 cr. Fall/Spring AETE408 Seminar V: Designing Curriculum in the Visual Arts 3 cr. Fall/Spring AETE444 Concepts & Processes for Classrooms 3cr

Studio for Interrelated Media The Studio for Interrelated Media [SIM] Department prepares students to leverage their particular talents to work professionally and to cultivate intentional creative lives. Central to the program is an interdisciplinary, student-driven laboratory for developing creative strategies, collaborative methods, technical competencies, and critical thinking skills. Students are challenged to shape a self-motivated and individualized educational direction drawing from a variety of disciplines, including: sound, installation, performance, and conceptual art; social practice; live event production (audio/visual/lighting); and work at the intersection of art, science and technology. The interdisciplinary nature of the program fosters work that potentially crosses boundaries of media definition and embraces the creation of new forms. The program emphasizes the dynamic relationships between the arts, culture and society.

Most semesters, SIM majors produce a major multimedia event that highlights student work.

The SIM Department manages the Pozen Center for Interrelated Media (a 350-seat flexible performance space), a digital sound studio, a digital video editing suite, and a store-house of analog and digital equipment ranging from a theremin and a mirror ball to the latest in HD video hardware. SIM students also have the opportunity to gain hands-on experience curating, designing, and producing by annually re-inventing the Eventworks experimental arts festival and managing SIM's Godine Family Gallery.

In recent semesters, the SIM visiting artist program has hosted DJ Spooky, Cristobal Lehyt, Marguerite Kahrl, Jennie C. Jones, Kori Newkirk, My Barbarian, and Gail Wight.

Studio for Interrelated Media Faculty

Elaine Buckholtz, Professor BFA, Ohio State University MFA, Stanford University

Dana Moser, Professor BFA, Central State University MFA, Massachusetts College of Art and Design

Juan Obando, Assistant Professor BA Universidad de los Andes MFA, Purdue University

Nita Sturiale, Professor BFA, Massachusetts College of Art and Design EdM, Harvard Graduate School of Education MFA, School of the Museum of Fine Arts

Studio for Interrelated Media Requirements

Total Credits: 30 Sophomore Year Major Requirements MPSM276 Studio for Interrelated Media/Major Studio 3 cr. Fall and Spring MPSM276 Studio for Interrelated Media/Major Studio 3 cr. Spring MPSM- SIM Electives 6 cr Fall/Spring Studio Electives 6 cr. Fall/Spring Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LALW200 Literary Traditions 3 cr. Fall/Spring LAMS - Math/Science Elective 3 cr. Fall/Spring LASS - Social Science Elective 3 cr. Fall/Spring

Total Credits: 30 Junior Year Major Requirements MPSM376 Studio for Interrelated Media 3 cr. Fall and Spring MPSM - SIM Elective 3 cr. Fall MPSM - SIM Elective 3 cr. Spring MPSM376 Studio for Interrelated Media 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 3 cr. Fall/Spring or Math/Sci Elective 3 cr. Fall/Spring LALW - Lit/Writ/Film Elective 3 cr. HART - History of Art, Social Science, Lit/Writ/Film or Math/Science elective 3 cr. or LA-SS/LW/MS - History of Art, Social Science, Lit/Writ/Film or Math/Science elective 3 cr.

Total Credits: 30 Senior Year Major Requirements MPSM476 Studio for Interrelated Media 3 cr. Fall and Spring MPSM - SIM Elective 3 cr. Fall

MPSM - SIM Elective 3 cr. Spring MPSM476 Studio for Interrelated Media 3 cr. Spring Studio Electives 9 cr. Fall/Spring

Liberal Arts and Art History Requirements HART - History of Art Elective 3 cr. Fall/Spring LA-SS/LW/MS - Soc Sci, Lit/Writ/Film 6 cr. Fall/Spring or Math/Sci Electives 6 cr. Fall/Spring

Total Credits: 30

Studio Foundation Exploration, idea generation, critical thinking, craftsmanship-this is where aspiring artists acquire the tool chest that will drive their artistic development. The Studio Foundation Department introduces students to a wide variety of studio techniques and media that cut across traditions and technologies. Its curriculum is required of all first-year students before they choose a major. Coursework helps students gain an understanding of the critique process on which much of the MassArt curriculum is based. They learn to take their projects through all stages of the creative process, from inception to design construction, presentation, and revision.

Drawing Courses introduce students to formal principles as well as the breadth of drawing practice.

Visual Language Courses explore two- and four-dimensional principles of visual organization, with a combination of tactile and digital media, photography, and video.

Form Study introduces students to the formal and conceptual foundations of three-dimensional design.

The Studio Foundation Department has an active program of visiting artists and exhibitions that brings students into contact with local, national, and international artists and designers. Studio, gallery, and museum visits complement the curriculum. Studio Foundation Faculty

Nancy Aleo, Professor BFA, Massachusetts College of Art MFA, Cranbrook Academy of Art

Sarah Bapst, Professor BA, Indiana University MFA, Cranbrook Academy of Art

Jarrett Min Davis, Associate Professor BFA, University of Dayton MFA, Maryland Institute College of Art

Taylor Davis, Professor BS, University of Massachusetts Amherst MFA, University of Massachusetts Amherst

Joshua Hart, Assistant Professor BFA, University of California MFA, Bard College, Milton Avery Graduate School of the Arts

Marc Holland, Associate Professor BFA, Massachusetts College of Art MFA, Rutgers University MFA, Bard College

Jane Marsching, Professor BA, Hampshire College MFA, School of the Museum of Fine Arts

Juan Ormaza, Professor BFA, National School of Art "La Esheralda" Mexico MFA, Alfred University

Evelyn Rydz, Assistant Professor BFA, Florida State University MFA, School of the Museum of Fine Arts

Christopher Sullivan, Assistant Professor BFA, Massachusetts College of Art and Design MFA, San Fransisco Art Institute

Amber Tourlentes, Associate Professor BFA, University of Massachusetts at Amherst MFA, University of Massachusetts at Amherst

Keith Washington, Associate Professor BFA, Massachusetts College of Art MFA, School of the Museum of Fine Arts

. Studio Foundation Requirements

Total Credits: 18

Courses

Animation

CDAN200 Animation 1 3 cr.

An introduction to the fundamental principles of expression through movement in time, sequential composition, editing, and integration of image sequences and sound. A series of short projects will apply basic animation principles. Presentations and projects involve simple phenomena of cycles, transformations, transitions, sequential structure and the expression of emotional and kinetic states. The use of digital still and video cameras is introduced, as well as sound integration, editing and story structure using current digital software combined with traditional techniques.

Hybrid Studio/Critique

Departmental Requirement Fall

CDAN202 Drawing for Animators 3 cr.

Drawing for Animators will build drawn animation skills through in-class exercises and related assignments. Students will animate all their work on paper using a variety of dry and wet media. They will gain knowledge of the physics of motion, squash and stretch, time-based blurring, perspective in motion, kinesthesia, and the use of light and shadow. Observational skills will be enhanced by using a live model, and by analyzing live-action footage and exemplary animation.

Prerequisites: CDAN202, MPFV214 or consent of instructor

Hybrid Studio/Critique

Departmental Requirement Spring

CDAN203 The Digital Toolbox 3 cr.

This course serves as an introduction to various alternative animation techniques, with emphasis on how an individual animation artist might innovate ways to integrate continually emerging digital tools into his or her work. Software applications such as Photoshop, Final Cut Pro, Flash, Illustrator and After Effects are introduced and incorporated into assignments that include "old-school" animation devices and techniques such as Zoetropes, flipbooks, rotoscoping and multi-plane shooting. Additionally, Mini- DV, and digital still cameras, along with digital audio recorders are introduced. A semester-long, image- based digital animation will be produced, along with numerous shorter assignments. There will be portions of class time made available for workshop.

Prerequisites: CDAN-203 or by permission of instructor.

Hybrid Studio/Critique

Departmental Requirement Fall

CDAN207 Toolbox II 3 cr.

This course will explore how concepts and creative project solutions can be further articulated through an expanded use of digital software and media. Toolbox Two will build on principles and techniques introduced in Digital Toolbox. Students will work on project-based assignments that require use of both 2D and 3D software. Through screened examples, workshops, visiting lecturers, critiques, and trial and error, participants will gain familiarity with problem-solving strategies and inventive use of digital resources in animation.

Prerequisites: CDAN203

Hybrid Studio/Critique

Departmental Requirement

CDAN212 Design for Animators I 3cr.

An introductory exploration to the application of a range of fine art materials with a focus on water-based media. Through demonstrations, in-class exercises and comparative assignments, students build technical skills and increase knowledge of color, form, space, light and composition in applied problems.

Fall and Spring

CDAN215 Stop Motion Animation I 3cr.

Stop-motion animation covers a vast array of techniques, skills and history. We will discover underlying common principles through screenings, demonstrations and exercises. Since students don't have access to the 300 person, three year production schedule that a stop-motion feature requires, we will learn effective strategies to make more with less. Most assignments will require students to isolate production elements and explore multiple paths to solutions. Emphasis here will not be on product, but on process. Therefore it will be expected that various paths may reveal failed strategies. The point will be to gain broad experience rapidly. It is expected that students will learn skills needed to produce expressive and engaging stop-motion animated pieces.

Prerequisites: CDAN301 or Permission of Instructor

Departmental Requirement Fall and Spring

CDAN217 Life Drawing 3cr.

The study of the human figure emphasizing observational response to movement, form, light and shadow, expression, and concepts of pictorial space.

Fall and Spring

CDAN218 Figurative Clay Construction 3cr

Working in clay, students are introduced to the basic forms of the human body and clay application as a foundation to begin sculpting the figure. Form relationships, gesture, movement, human proportions as well as relevant anatomy are discussed and explored as we sculpt from a live model. Students finish class with two complete pieces ready for kiln firing as well as a deeper ability to visualize the human body in three dimensions and the foundations for translating that skill into sculpture, drawing or animation.

Undergraduate Elective Fall & Spring

CDAN219 Motion Graphics 3CR

Motion Graphics works towards an exploration of the intersection of design and movement as employed in the pursuit of communication. Course assignments are intended to bring the kinetic principles of animation into the design realm.

Prerequisites: Open to SO, JUN, and SENIORS

Hybrid Studio Critique

Instructor's Discretion

CDAN224 VFX Alchemy: Pixels & Grain 3cr

Through the completion of short assignments, students use an integrated approach to producing visual effects with historic and contemporary techniques. Adobe After Effects, analog film camera systems, and motion control are some of the technologies explored. A full range of examples from the avant-garde to the mainstream provide insight into methodology and design

solutions. No prior experience with film is necessary. Students of all disciplines are welcome.

Hybrid Studio Critique

Fall

CDAN225 Puppet Animation & Fabrication 3cr

Character and set fabrication is explored with an eye toward contemporary practices in the field of stop motion puppet animation. A variety of armatures and rigs will be used in exercises that emulate challenges found in the field.

Hybrid Studio Critique

Fall

CDAN226 3DCG Character Animation 3cr

Leaping directly to animating 3DCG characters by utilizing pre-existing rigs, the goal is to create realistic performances that are applicable to all forms of animation. Topics like workflow, staging, acting choices, dialogue and more are explored. Work will primarily be completed using Autodesk Maya.

Hybrid Studio Critique

Fall

CDAN300 Character Animation 3 cr.

A study of the use and dynamics of the character in animation. Through screenings, guest lecturers, workshops, critiques, design, performance and animation exercises, students will explore the fundamentals of character animation. Course emphasis is on 2D formats, although there may be some 3D content mixed in.

Prerequisites: CDAN200 & CDAN203, or permission of instructor

Hybrid Studio/Critique

Departmental Elective

CDAN301 Animation II 3 cr.

Animation II will introduce students to various mixed media approaches to animation design. Students will learn strategies enabling them to complete several short animated films within a single semester. They will be instructed in numerous elements necessary to create an independently authored animated film, including the concept of unity, advanced camera techniques, and the language of the cinema. Further emphasis will be placed on experimentation, auteurism, and expressionistic use of materials. There will be regular screenings of exemplary animation and regular classroom critiques.

Prerequisites: CDAN202, MPFV214 or Drawing for Animators

Hybrid Studio/Critique

Departmental Requirement Spring

CDAN302 Animation III 3 cr.

Animation III is a course that focuses on various narrative forms for animated short films. A wide range of exercises are employed to address issues of both content and form, such as: creating an animated film by utilizing documentary audio or found sound, interpreting an existing work of poetry, adapting a news article, and translating a theatrical script into a visual storyboard. Students are expected to work both individually and collaboratively.

Prerequisites: CDAN301

Critique

Departmental Requirement Fall

CDAN303 Sound Design for Animators 3 cr.

Soundtracks for motion pictures are possibly the least noticed element, yet provide the strongest cues to the viewers' emotional response. This course will enhance the student's understanding of the power of sound as well as providing the vocabulary to make meaningful aural decisions. Students will create audio pieces that stand alone and later synchronize them with animation.

Hybrid Studio/Critique

Departmental Elective

CDAN306 Toolbox III 3 cr.

Continued study of the digital realm in animation. Primary focus is on 3D computer animation.

Prerequisites: CDAN 207 - Toolbox Two

Hybrid Studio/Critique

Departmental Elective

CDAN307 Advanced Character Animation 3cr

This course will build upon the principles covered in Character Animation. Strategies in acting, walk and run cycles, experimentation with movement and timing, critical animation thinking and advance studio techniques (tricks of the trade ) will be covered.

Prerequisites: Take Character Animation

Hybrid Studio Critique

Fall and Spring

CDAN309 Optical Printing 3cr

Students learn how to shape the space, time and light of the motion picture image on one of the most versatile of film devices, the optical printer. The optical printer consists of a camera, a projector head and a light source on which you rephotograph already developed film to extract and explore the hidden potentialities of the image. Students quickly gain hands on experience with the printer through numerous demonstrations and exercises. Screenings of key works will illustrate a myriad of techniques.

Hybrid Studio Critique

Undergraduate Elective Fall

CDAN392 AN Course Assistantship

CDAN398 AN Internship

CDAN399 AN Independent Study 3 cr.

Critique

CDAN400 Degree Project I 3 cr.

The first of two semesters involving investigation and articulation through animation of a topic of personal interest for each student. This course involves extensive scholarly research and experimentation including short trials runs of techniques and strategies. All these are used on the path towards completion of a comprehensive film or set of films. At the close of the first semester, students will have defined their intentions through a completed animatic essay on purpose and intent, design studies, trial shorts, and a minimum of one minute of completed footage representative of their final product.

Critique

Departmental Requirement Fall

CDAN401 Animation Portfolio 3 cr.

Animation Portfolio provides a concentrated opportunity for graduating seniors to develop content and practices directed towards their professional goals in the field of animation. Through a series of projects, lectures and workshops, students develop professional standards and produce a finished portfolio and show reel.

Critique

Departmental Requirement Fall

CDAN402 Degree Project II 3 cr.

The second of two semesters involving investigation and articulation through animation of a topic of personal interest for each student. Students complete all phases of production and promotion of their chosen project.

Prerequisites: CDAN400

Critique

Departmental Requirement Spring

CDAN403 Animation IV 3 cr.

Animation IV is an advanced-level production course in which students produce one high-end, purpose- driven animation. Emphasis is placed on clear communication of ideas, which is challenged through intensive group critique of every phase of the process: from script to storyboard to animatic to finished

animation. Complete musical score and sound design is coordinated via a semester-long collaboration with students from Berklee College of Music. Additionally, students will complete three, ten-second "style emulations". which closely examine the work of independent animators.

Prerequisites: CDAN302

Critique

Departmental Requirement Spring

CDAN404 Stop Motion Collaboration 3cr

Students will work cooperatively on a short animated sequence designed to demonstrate and develop advanced stop motion animation skills. Topics will include miniature set construction and detailing, tabletop and practical lighting, motion control cinematography, front light/back light and compositing, casting of foam puppets, armature fabrication, use of surface gauges and frame grabbing, and puppet animation.Formerly titled Stop Motion Animation II]

Prerequisites: Must complete foundation year.

Studio

Spring

CDAN405 Advanced 3D Digital Animation 3cr

Advanced 3D Digital Animation builds upon digital animation skills developed in Intro to 3D Digital Animation, specifically 3D computer-generated animation in Maya . The course is primarily focused upon techniques of advance biped-character modeling, introduction to NURBS-based modeling, UV mapping, character rigging, and advanced character animation.[Formely Titled Toolbox IV]

Prerequisites: CDAN-306

Spring

Architecture

EDAD102 Architectural Technical Drawing 3 cr.

Development of a variety of design/technical drawing skills through exploration in various media using architectural design contexts. Attention is given to 3D material rendition, construction means, and form characteristics through measuring, documentation and transformation into 2D drawing. Freehand and

hard line drawing including plan, section, elevation, axonometric, isometric, and perspective are covered through a diverse set of drawing projects.

Critique

Departmental Requirement Fall/Spring

EDAD200 Pattern Language & Morphology in Architecture 3 cr.

An introduction to the design processes used in all areas of architecture and basic design, students develop a foundation in the principles of design through concept development, perception, comprehension and visual communication through sketches, measured drawings and models.

Prerequisites: Concurrent or previous enrollment in EDAD102 Technical Drawing and EDAD 202 Methods and Materials or equivalent as approved by Instructor. (A preparatory course to studio design issues, required of all undergraduates in the program)

Studio

Departmental Requirement Fall

EDAD202 Methods and Materials 3 cr.

This course introduces students to the history, origins, properties, working methods, and assembly techniques of the major materials that comprise the built environment, with a focus on the development of woodshop skills and wood frame construction. Students are immersed in the nuts and bolts of architectural craft and construction technology practice. Through design sketch problems, hands-on demonstrations, and readings, students focus on the most common methods of constructing building systems in wood, masonry, steel, and concrete. Constructing a full-scale model of a wood-framed structure brings the theory to life. Read chapters 1-5, 8-11, and 13- 15 of Fundamentals of Building Construction: Materials and Methods (Edward Allen) prior to class.

Prerequisites: Concurrent or previous enrollment in EDAD200 Pattern Language

Hybrid Studio/Critique

Departmental Requirement Fall

EDAD203 3D Modeling for Freshman 3 cr.

An exploration of form.Z as an introduction to 3D modeling skills. Various design projects are used as the basis to explore the 2D and 3D tools to form a basic understanding of the software.

Hybrid Studio/Critique

All College Elective

EDAD205 Technical Drawing as an Art Form 3 cr.

The goal of this course is to reestablish this classic form of drawing. Assignments will stress the technical aspects of pencil as well as pen and ink drawing. Students will be introduced to axonometric views, perspective construction and freehand object drawings of interior and exterior views. Lectures will include technical drawing and architectural renderings from the golden age.

Critique

All College Elective

EDAD211 Digital Tools 3cr

Students are introduced to 2D/3D drawing and modeling software with an emphasis on architectural design in digital space. In-class demonstrations occur throughout the semester and address how to use digital tools at various stages of the design process at various scales. Students apply skills taught in class to small design projects as part of the course.

Lecture

Instructor's Discretion

EDAD216 History of Architecture and Urban Planning I 3 cr.

The course examines building cultures from different periods and places, beginning with pre-history and the ancient civilizations from more than 5000 years ago that kept the first written records, through the era of medievalism up to the dawn of modernity. Emphasis is given to different aspects of the built domain: selected individual buildings, their symbolical significance, layouts, spatial organization, construction, building materials and technologies, along with buildings' sites and city plans within the broader urban and cultural landscapes. Each lecture is based on a variety of case studies of buildings and settlements explored within their specific geographies and historical settings. Rather than asking for simple memorizing of particular data or dates, students develop skills of analyzing, comparing and getting oriented within distinct historical spaces and periods.

Lecture/Seminar

Departmental Requirement

EDAD223 Architectural Design I 3 cr.

Through a series of projects of increasing complexity, students work on designs that include small scale private and public programs, and transform ideas into built form.

Prerequisites: Undergraduates: EDAD200 Pattern Language

Studio

Departmental Requirement Spring

EDAD227 Architectural Structures I 3 cr.

Introduces construction at a domestic scale through lectures, slides and field trips. Structural calculations include safe selection of building parts by stress analysis, beam equations and column computations. Students learn sufficient wood and masonry building techniques to design a small wood frame building. Assignments include structural models and calculations.

Lecture/Seminar

Departmental Requirement Spring

EDAD300 Design/Build/Artisanry 3 cr.

Development of technical drawing skills through exploration in various media using architectural or industrial design contexts. Introduces various drawing techniques. Attention is given to 3D material rendition, construction means, and form characteristics through measuring, documentation, and transformation into 2D drawing. Freehand and hard line drawing including plan, section, elevation, axonometric, isometric, and perspective.

Critique

Departmental Elective

EDAD302 Sustainable Architecture 3 cr.

Providing a broad overview of ecology and landscape as a basis for understanding sustainable principles, the course follows research focusing on "deep retrofit" detailing for new and existing wood frame housing in various climates, with an emphasis on cold climates similar to New England. Lectures include siting, water and waste, trash and recycling, conservation and energy production, air, environment and health, materials and methods in construction, transportation, food production, native landscape design and the broader issues of building community. Sustainable construction principles centered in wood frame construction for both new and existing housing presented and researched including the current developments in details, environmental and energy systems alternatives. Individually and in groups, students are required to develop details for existing construction approaching zero-energy use in various climates, associated with an outline specification indicating materials, systems and energy

sources. Each student will complete a drawn presentation, an individual outline specification, and a short presentation on a focused area of interest.

Prerequisites: EDAD223 Architectural Design I, or equivalent as approved by Instructor.

Lecture/Seminar

Departmental Requirement

EDAD307 Furniture Design I 3 cr.

This studio is designed as an introduction to the basic principles of furniture design as it relates to history, methods of production and style. Through a series of projects, students design and construct projects focusing on material selection, joinery conventions of similar and different materials and craft in assemblage. Students are encouraged to develop consistent formal elements in their designs, with attention to ease of use, function, assemblage and workmanship.

Prerequisites: Take Methods and Materials or Projects in Wood or Joinery

Hybrid Studio/Critique

All College Elective

EDAD310 Architectural Design II 3 cr.

The studio focuses on the development of tools and fundamental skills for primary competence in design leading to an emerging ability to integrate design explorations - the ability to think critically about and integrate research and precedents, climate and site, program, use and structural building propositions.

Prerequisites: EDAD223 or EDAD305 Architectural Design I or equivalent as approved by Instructor

Studio

Departmental Requirement Fall

EDAD316 History of Architecture and Urban Planning II 3cr

based on a variety of case studies - specific buildings, urban plans and theoretical statements of the leading architects, planners and visionary contributors to the creation of the built domain, understood through the specificities of the ideological, cultural, and intellectual settings of different periods and geographies.

Fall

EDAD317 Architectural Structures II 3 cr.

Continues structural design of wooden buildings and computations for generic or special extra load applications requiring compound wood sections. Introduces steel construction and calculation for steel beams and columns. Environmental systems of plumbing, heating and insulation are covered and students design a domestic plumbing system.

Prerequisites: EDAD227 Architectural Structures I, or equivalent as approved by Instructor.

Lecture/Seminar

Departmental Requirement Fall

EDAD320 Architectural Design III 3 cr.

Students are exposed to a design project of increasing complexity and an investigation of mixed use programming at an urban site. Design work includes experimentation with the design and selection of structural systems and application of sustainable principles to site and building design concepts and details. Development of architectural design skills that address the issues of housing both locally and globally viewed through a lens of cultural differences: as in typical minimum housing sizes and varied user profiles. The coursework includes investigation of elements of urban tissue such as plazas, squares, street edges and systems of city form understood through street patterns and greenways followed up in a site study focused on the primary design project for the studio. Students explore needs, values, norms and spatial patterns as a means to sensitize them to diverse physical and cultural environments that culminate in the design of a mixed-use housing project in a local urban contex

Prerequisites: EDAD310, EDAD327

Studio

Departmental Requirement Spring

EDAD327 Architectural Structures III 3 cr.

Introduces structure design of compound steel beams and columns and long span trusses of steel or wood. Environmental systems/building science topics include electricity, wiring, lighting and daylighting, long span roofing and foundation and site methods.

Prerequisites: EDAD317 Architectural Structures II, or equivalent as approved by Instructor

Lecture/Seminar

Departmental Requirement Spring

EDAD330 The Art of Furniture Design I: Fundamentals of Design and Construction 3 cr.

In this course, students initiate and are guided through a hands-on design/build project based on fundamental tenets of furniture design. Students will come to class with work from Design Processes for Furniture Design to use as the basis for their project. This studio shop course will begin with a review of design fundamentals and the concept design process. If necessary, concepts are refined through additional drawings and maquette model making as preparation for the concluding phase: completion of the final product. This class will also be open to students outside of the certificate program who have experience in basic hand tool use and maintenance as well as a comfort level for work in standing machine power tools.

Prerequisites: Design Processes for Furniture Design

Hybrid Studio/Critique

Departmental Elective

EDAD333 MassMaker Studio 3 cr

MassMaker is an interdisciplinary, mixed media design studio program focused on an entrepreneurial approach to the making of things. The course simulates the development cycle of ideas from inspiration, through design and development, prototyping and fabrication, and creation and marketing. Working in teams with other students from different disciplines, students gain leadership, collaboration, and design skills in a problem based, hands on environment of shared success. Students form teams, create a problem statement, propose an idea to solve the stated problem, design their solution, prototype and fabricate it using a mixture of means and methods including digital design (3D Modeling, Parametric Design, Finite Analysis), digital prototyping and fabrication (3D Printing, CNC Controlled, Laser Cutters) traditional crafts (Wood, Metal, Composites shops), and the present their concept using digital design and graphics techniques including printed material, digital media, animation, or interactive media. Fabrication and prototyping takes place in shops and labs located throughout the Mass Art campus. Studio space for design and assembly will be provided to each team.

Undergraduate Electove Spring Only

EDAD334 Architectural Communication 3cr

Amongst fields of creative production, architecture is unique in its reliance on representational images. Architects rely on these representations to convey multiple layers of information, from the conceptual to the pragmatic. With the dizzying array of digital and analog media at our disposal, how do we determine how best to present our design ideas? And, with limited time, how do we select the most effective and efficient technique to present conceptual content? In this course, students take a closer look at strategies of architectural representation, with a focus on communicating a clear message through graphic means. Students explore multiple historical examples, learn new drawing and model making techniques, and produce a range of 2d and 3d work that aims to fully capture and enhance design intent.

Prerequisites: EDAD-102

Critique

Undergraduate Elective Spring

EDAD340 The Art of Furniture Design II: Fundamentals of Design and Construction 3 cr.

Prerequisites: The Art of Furniture Design: Fundamentals of Design and Construction I

Hybrid Studio/Critique

Departmental Elective

EDAD345 Animals, Architects & Attitude 3cr

This community service project begins with a one semester design course, followed by a spring building workshop in which students design and construct an object that has a real world client with a need. This semester includes research, lectures, demonstrations, zoo visits, drawings, operational model making, and presentations. During the term students produce drawings and test models. To demonstrate the constructability of the finalized form the class works collaboratively to create a scale operational model. In spring of 2019 students may have the opportunity to continue and construct/install the final design at the Franklin Park Zoo. The course is presented to students with an emphasis on developing skills in research, analysis, design development, and critique with juried selection.The final result is the creation of a useful space and structure where humans and animals interface and learn from each other with a covered stage for presentations, educational programming, concerts, and performances located at the Franklin Park Zoo.

Hybrid Studio Critique

Fall

EDAD346 Animals, Arch. & Attitude II 3cr

This continuation of a community service design course, is intended to be a chance to construct large scale ( 1:2 scale ) working prototypes and models based on designs produced in the first course that was offered in the Fall of 2018. In this course students will construct mock ups of operational stage props, a transformable stage with backstage, and a dynamically shaped lightweight roof structure. These large scale furniture-like objects will then be displayed a the Franklin Park Zoo, to demonstrate to design intent and help the Zoo raise funds to build the actual project in 2019. This course is presented to students with an emphasis on developing skills in material research, analysis, and detail design and fabrictaion.The final result is the creation of a useful tranformable space and structure where humans and animals interface and learn from each other with a covered stage for presentations, educational programming, concerts, and

performances located at the Franklin Park Zoo.

Hybrid Studio Critique

Spring

EDAD350 Building Components and Details 3 cr.

This course investigates the nature of construction material and the inherent ways that materials behave, using these properties in small-scale design studies. Construction assemblies are studied for their logic and design opportunities. Students use industry conventions such as dimensioning and material constraints in designs to develop projects through drawing, models and building actual details. The work is developed in architectural, interior and industrial design contexts.

Prerequisites: Concurrent or previous enrollment in EDAD310.

Hybrid Studio/Critique

Departmental Requirement Spring

EDAD356 Exhibit Design 3 cr.

The intent of this class is to discover and explore the basic principles of designing exhibits, including structural frameworks, ergonomics, scale, graphics, and an exploration of materials, form and fabrication. Students are exposed to concepts of time and the multiple types of display for selling, celebrations, fairs, expositions and markets.

Prerequisites: Open to all majors; limited spaces will be reserved for freshman.

Critique

Departmental Elective

EDAD360 Furniture Fabrication for a Sustainable Future 3 cr.

This course combines experience in the fine art of furniture making with an exploration of the procurement, preparation and use of sustainable materials. Students develop their woodworking skills in both traditional joinery techniques as well modern production methods. Each student is responsible for generating and building an original design that represents an understandingof efficiency and sustainability. The focus is on functional pieces for living, learning and working spaces.

Prerequisites: prior woodshop experience

Hybrid Studio/Critique

All College Elective

EDAD367 Building Operating Systems 3cr

Mechanical/electrical/plumbing/communication systems for domestic to tall buildings are introduced in the context of declining energy supplies and increasing global pollution. Lower energy systems for heating, ventilating, air conditioning, plumbing, and lighting for new and retro-fit applications are contrasted with traditional systems, and selections of architectural design and landscape elements which support more sustainable systems are covered. Students estimate heating, cooling, ventilating, lighting, electrical, elevator, sewage and pure water loads and gain some understanding of how handling these loads affects the space and layout of buildings and what sort of collaboration with engineers is to be expected. The principles of operation and code standards for the various environmental control systems are explained, together with relative costs and expected maintenance requirements. Issues of energy source availability, safety, pollution, storage and delivery are discussed from a local and global perspective. Field trips to local ""green"" buildings demonstrate the use of currently available lower energy systems.

Prerequisites: EDAD-317

Lecture

Spring

EDAD392 AD Course Assistantship

EDAD398 AD Internship

EDAD399 AD Independent Study

EDAD402 Professional Practice 3 cr.

100

Students are introduced to architectural practice through social and community design issues, fiduciary responsibility, design and construction contracts and contract law, regulations and codes governing design and construction, ethics, sustainability and environmental issues and requirements for planning, site design and building design and construction.

Prerequisites: EDAD320 Architectural Design III (required of all graduates in the program) Permission of Instructor required of students in the undergraduate program.

Lecture/Seminar

Departmental Elective

EDAD405 Making Cities Work 3 cr

What design decisions lead to a more sustainable future and how are those decisions made? In this course we examine how the architecture and design of cities is dependent on the underlying urban fabric by looking carefully at the forces that shape great urban spaces - the designers, the political players and the everyday urban dwellers. Contemporary projects ranging from The High Line in Manhattan to Germany's Landschaftspark Duisburg-Nord are used as case-studies in conjunction with study of Boston's historical and contemporary urban landscape. Students' final projects for the course involve direct observation, analysis and documentation of selected sites in Boston. Through case studies and investigations in Boston we critically assess the social, cultural, environmental and economic factors that influence built and landscape fabric of cities and what the confluence of those underpinnings means for the future of the places where we live.

Hybrid Studio Critique

Elective FAll

EDAD408 Special Topics in Architectural History/Theory and Criticism 3cr.

This course provides a survey of main theoretical approaches in modern architectural history: beginning from the institutionalization of architectural academia until the present. We examine how a wide range of architectural commentators see the meaning, role, and significance of the built environment, and each week is devoted to a certain theme and/or theory affirmed in a particular historical context. The themes are explored through reading and discussion of the historical texts, as well as more recent interpretations by contemporary commentators. Each week's topic is examined in a three hour discussion on the assigned readings. Students sharpen their critical thinking and develop their verbal and writing skills through in-depth study of particular topics in seminar discussions, oral presentations and written assignments.

Spring Only

101

EDAD409 The City: Interviews With Innovators In Design and City Process 3cr

This highly interactive lecture course seeks to expose students to a group of experts who are challenging the larger forces that affect building design, including public participation in zoning and city master-planning, economics, finance, and development models, and resiliency and climate change regulations. Guest lecturers such as Dr. Barry Bluestone, Dr. Atyia Martin, Chief Resiliency Officer for the City of Boston, and others will present their work and engage in a lively interview-style conversation around how designers can shape projects in intelligent and innovative ways to deal with today's complex realities. Prior to the 'interviews', students are expected to familiarize themselves with the work of the visitor and compile questions that they will ask the guest.

Prerequisites: Knowledge in architectural design and Interest in planning initiatives in the cities of Boston and Cambridge.

Seminar

Fall

EDAD410 Architectural Design IV 3 cr.

Architectural design projects of increasing complexity, to include multi-storied construction proposed in the public realm on an urban site. The course provides a framework for making clear design decisions related to the development of solving complex programming skills in a community setting. Projects use a range of building systems requiring long spans and taller structures in steel and concrete. The studio begins with a short project exercise in manipulating an existing exposed column and beam grid system in order to investigate the structural frame, closure and edge conditions.

Prerequisites: EDAD320 Architectural Design III

Studio

Departmental Requirement Fall

EDAD417 Architectural Structures IV 3 cr.

Introduces structural design of 3-hinged arches and concrete buildings including computations for safe selection of beams, joists, slabs and columns. Environmental systems/building science topics include

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active and passive solar design, HVAC, acoustics, fire alarm, sprinkler, security and elevators, concrete methods, and critical path method job planning.

Prerequisites: EDAD327 Architectural Structures III, or equivalent as approved by Instructor.

Lecture/Seminar

Departmental Requirement Fall/Spring

EDAD427 Structures Overview 3cr

Designed for students who require a comprehensive overview of current structural methods in the United States. Covers structural examples and calculations for reinforced concrete, steel, wood frame and cross laminated timber. Students accustomed to a masonry building tradition are introduced to the possibilities of wood and related calculation methods. Computations are presented in typical applied context.

Prerequisites: EDAD-227 and EDAD-317

Lecture

Fall

EDAD440 Intermediate Furniture Design: Pre-Capstone Studio 3 cr.

Working with greater autonomy in the shop environment, each student develops a more advanced design project in consultation with faculty. The project will be based on students' ongoing practice of concept documentation and idea development in their sketchbooks, and focused on continued evolution of individual vision and practice. Practical issues such as rapid decision making and timely procurement of materials are incorporated into the design/build process. This course may be combined with the Art of Furniture class, depending upon enrolment.

Hybrid Studio/Critique

Departmental Elective

EDAD441 Furniture Design Capstone 3 cr.

This is the culmination of a five semester concentration on the development of studio furniture. Students are required to produce a significant work of merit -- a furniture suite, or a series of pieces -- in order to successfully complete the capstone course. The expectation is for the student to produce work which is a cohesive representation of his or her individual aesthetic voice and vision. As such, the final work will be the defining element of the emerging artist's portfolio as the student moves into professional practice.

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Prerequisites: Intermediate Furniture Design: Pre-Capstone studio

Hybrid Studio/Critique

Departmental Elective

EDAD450 Architecture Degree Project I (Research) 3 cr.

This course is the first of a two-semester senior architectural degree project. This project will be the vehicle for students to develop techniques to self sufficiently research, explore, develop and ultimately demonstrate the validity of an architectural thesis / proposition put forth by the student. In this semester students will identify a thesis / proposition of personal interest to them; they will develop a comprehensive preliminary architectural program that supports the thesis / proposition; and they will identify a locally available site which will provide an appropriate context for the proposed project. Through research, evaluation, analysis and testing, the student will confirm the feasibility of the chosen project to accomplish the architectural goals and support the thesis / proposition stated by the student.

Prerequisites: EDAD410 Concurrent or prior enrollment in Architectural Design IV (Required of all undergraduates in the program)

Lecture/Seminar

Departmental Requirement Fall

EDAD451 Architecture Degree Project II (Design) 3 cr.

This is the second semester course in a design study in architecture, lasting one year for each of the graduating seniors in architecture. Students come to this class armed with the products of EDAD450 - thesis concept, a comprehensive program, a feasibility study, and preliminary design drawings. In this semester students focus on their building design in plan, section, elevation, structural models of various scales, details, building envelope studies, environmental and service systems into a final design set, with details appropriate to their projects. Students shall be required to provide a bound book and associated CD organized to show process, outcomes, and the fully developed design documentation including photographs of the final project.

Prerequisites: EDAD450 Architecture Degree Project I

Studio

Departmental Requirement Spring

Art Education

AETE201 Art & Human Development 3 cr.

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An exploration of the cognitive and psycho-social development of learners through psychological, sociological, and anthropological theories. Theories of development and the nature of art-making are the focus of the course.

Lecture/Seminar

Departmental Required, All College Elective Fall/Spring

AETE208 Seminar I: Contemporary Teaching Practices 3 cr.

Seminar I and Seminar II run in tandem to provide a sophomore-level introduction to teaching and contemporary art. In Seminar I, visits to a variety of educational settings (including public schools, after- school programs, alternative programs, art spaces, and community centers) introduce students to teaching contexts. The course begins to prepare students for their responsibilities as teachers.

Co-requisites: Seminar II: Contemporary Art Practices

Lecture/Seminar

Departmental Requirement

AETE209 Seminar II: Contemporary Art Practices 3 cr.

Seminar I and Seminar II run in tandem to provide a sophomore-level introduction to teaching and contemporary art. In Seminar II, visits to a variety of art settings (including museums, galleries, and artists' studios) introduce students to contexts where art is made and produced, exhibited, and experienced. The course begins to prepare students to be socially responsible artist/educators.

Co-requisites: Seminar I: Contemporary Teaching Practices

Lecture/Seminar

Departmental Requirement

AETE221 Interdisciplinary Studio I 3 cr.

The Interdisciplinary Studio in Art Education is the major studio course in the department. This sequence of courses combine focused studio practice with critical research from life experience as learners, as teachers, and as artists. Substantive interdisciplinary projects allow students to experiment with and refine their personal artistic disciplines. Art Education majors complete the Interdisciplinary Studio sequence by taking the course at each level (200, 300, 400) before enrolling in Capstone and Artist Teacher Studio. The number of Interdisciplinary Studios required is determined by the student's track in the department.

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Hybrid Studio Critique

Department Requirement Fall and Spring

AETE300 Seminar III: Issues and the Individual Learner 3 cr.

An opportunity for students to explore skillful communication, particularly as it relates to expectations, beliefs, relationships, and management with children and youth. Also, an examination of contemporary readings and models that link diversity and art education. Fieldwork with a variety of learners is a significant component of the course.

Prerequisites: AETE201, AETE208, AETE209

Lecture/Seminar

Departmental Requirement Fall/Spring

AETE307 Saturday Studios Prepracticum I 3 cr.

An intensive study of a variety of teaching models and their respective planning strategies. Reading and discussions will address writing lesson plans, conducting instructional sessions, and assessing student learning. Students make direct field observations in schools, community settings, and museums. Students will also be required to serve as research and teaching assistants to the Saturday Studios' teachers on at least three Saturday mornings.

Prerequisites: AETE201, AETE208, AETE209

Lecture/Seminar

Departmental Requirement Fall/Spring

AETE322 Interdisciplinary Studio II 3 cr.

Prerequisites: AETE-221

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Hybrid Studio Critique

Department Requirement Fall and Spring

AETE400 Saturday Studios Prepracticum II 3 cr.

A teaching experience to practice theories and models of teaching in the context of the Saturday Studios setting. Through readings, class discussions, and coaching sessions, students analyze communication skills and motivational techniques to inform their practice. Students reflect upon all aspects of their teaching and set goals to address challenges they encounter.

Prerequisites: AETE307

Lecture/Seminar

Departmental Requirement Fall/Spring

AETE404 Seminar IV: Creating Community 3 cr.

An examination of a variety of community arts programs in order to understand how artists and arts administrators approach the design and implementation of art education programs in community settings. Students will design and implement a community art project as part of the course.

Prerequisites: Take AETE-307 or permission of instructor.

Lecture/Seminar

Departmental Requirement Fall

AETE407 Student Teaching Practicum 6 cr.

Students are placed for their practicum in area schools for either Pre-K - 8 or 5-12 licensure. They work closely with cooperating teachers designing, teaching, and evaluating lessons relating to the school curriculum. They are supervised by Mass Art faculty and attend a weekly seminar on issues related to their teaching experience. They compile a teaching portfolio and hang an exhibition of their students' work.

Prerequisites: AETE400, AETE412 or AETE 404

Practicum/Mix

Departmental Requirement Fall/Spring

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AETE408 Seminar V: Designing Curriculum in the Visual Arts 3 cr.

An exploration of the philosophical, socio-cultural, and personal issues that shape teaching practices. Through readings and critical analysis of existing models, students design individual solutions to curriculum problems in the visual arts. (This course is usually taken concurrently with the Student Teaching Practicum or the Community or Museum Internship.)

Prerequisites: AETE400

Lecture/Seminar

Departmental Requirement Fall/Spring

AETE411 Museum/Community Internship 3 cr.

Provides a field-based setting for Museum and Community Education students. Students work with museum or community professionals and a college supervisor to build skills and insights that will advance their knowledge of the museum or community education profession.

Prerequisites: AETE404 or AETE412

Practicum/Mix

Departmental Requirement Fall/Spring

AETE412 Seminar VI: Exhibitions: Concept, Context, and Audience 3 cr.

This course explores the role and responsibilities of museums and galleries in presenting objects to the public. Coursework examines the history of museums and the rise of art collections for public viewing. Students work on a group project in which they develop an exhibition. In addition to creating artwork for the show, the students focus on curating, installing and developing educational materials for the public. The class examines the Looking to Learn gallery education program at MassArt and visits Boston area galleries and museums as part of the course work.

Prerequisites: AETE301 or AETE406, AETE307

Lecture/Seminar

Departmental Requirement Spring

AETE424 Interdisciplinary Studio III 3 cr.

The Interdisciplinary Studio in Art Education is the major studio course in the department. This sequence of courses combine focused studio practice with critical research from life

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experience as learners, as teachers, and as artists. Substantive interdisciplinary projects allow students to experiment with and refine their personal artistic disciplines. Art Education majors complete the Interdisciplinary Studio sequence by taking the course at each level (200, 300, 400) before enrolling in Capstone and Artist Teacher Studio. The number of Interdisciplinary Studios required is determined by the student's track in the department.

Prerequisites: AETE-322

Hybrid Studio Critique

Department Requirement Fall and Spring

AETE425 Capstone Studio 3 cr.

Capstone Studio provides an opportunity for reflection on, refinement, and presentation of prior learning in the program; a search for lasting connections between creating and teaching. Students consider contemporary pedagogical concepts in direct relation to how artists experience making, viewing, and learning. This course further supports teachers in using their own art-making, personal sources of inspiration, and reactions to works of art in teaching. As students move through the Interdisciplinary Studio sequence, this course emphasizes focus on a cumulative artistic identity.

Prerequisites: AETE-322 or permission of instuctor

Hybrid Studio Critique

Department Requirement Fall and Spring

AETE426 Artist Teacher Studio 3 cr.

Artist Teacher Studio is designed to help teaching interns navigate the balance between being an artist while being a teacher. Students collaborate to find ways to maintain their own art practice, to bring the works and practices of contemporary art into teaching, to create and participate in communities of support, and to use art and teaching engagement as foundations for research.[Formerly known as Portfolio:Artist/Teacher Seminar]

Prerequisites: AETE-400 and AETE-425

Hybrid Studio Critique

Department Requirement Fall and Spring

AETE444 Concepts & Processes for Classrooms 3cr

109

An intensive, condensed examination of the traditional and new media of visual artists as used in elementary, middle, and high school educational settings. Emphasis is placed on the relationship of materials and processes to the images and ideas they convey, as well as the practical concerns of organization, age-appropriateness, special adaptations and efficient routines. Each student will engage in research and an in-depth exploration of a concept/process. Special consideration given to substantive, appropriate, and respectful content in Pre-K - 12 classrooms.

Certificate

3DTD210 Advanced Techniques for Furniture Making 3 cr.

This course will expose students to a variety of somewhat specialized techniques that can be applied to furniture production. Sessions explore the basics of select special skills, with of the objective of giving students enough exposure to begin applying these techniques independently to their studio projects. Areas of study may include turning, veneering, vacuum pressing, casework techniques, laminating, chair- making techniques, upholstery, caning and marquetry, and carved molding.

CDGD201 Typography 3cr

Students take a close look at how to design and use basic letterforms, and build skills in typesetting and typographic layout, and in expressive typography and conceptual thinking. Topics include typographic contrast, information hierarchy, major type families, the history of design, and typographic grids.

CDGD202 Intermediate Typography 3cr

Students apply typographic principles to communication design projects of moderate complexity. They strengthen skills in building typographic relationships and detail, creating sophisticated typographic layouts, including dynamic use of the grid, and employing type use and choice for creating expressive, conceptually based typographic design.

Prerequisites: CDGD-201 and CDGD-203

CDGD203 Foundations of Graphic Design 3cr

Students are introduced to visual principles as the basis of graphic design communication, and elements and issues of visual language. The course covers the manipulation of graphic form to convey meaning, strategies for idea generation and development of unique concepts, and the designer's role as visual storyteller.

CDGD218 Graphic Design I (PCE) 3cr

Students learn the formal elements of design, concept, and typography, and builds skills for integrating these elements into effective graphic design communication.

110

Prerequisites: CDGD203

CDGD310 Graphic Design II 3cr

Application of design and typographic principles to projects of significant scope and complexity for print and screen-based formats. Students will be challenged to develop content, effective concept, and user- centered approaches to effectively communicate with defined audiences.

Prerequisites: Prerequisites: Foundations of Graphic Design, Typography, GD I, Intermediate Typography and a working knowledge of InDesign, Photoshop, and Illustrator. GDC program students should take Interaction Design before or at the same time as GD II.

CDGD311 Graphic Design III 3cr

Applied Graphic Design with emphasis on the role of typography and the development of strong visual concepts that communicate clearly to a targeted audience. A synthesis of image and typography is stressed. Please bring your portfolio and resume to the first class meeting.

Prerequisites: Must complete Intermediate Portfolio before registering for GD III.

CDGD328 Print Production 1.5cr

This practical class teaches how to take a project from the design stage to printed product. Topics include: how to get print estimates, "preflighting", font management, and color for print production. Includes a tour of a printing press.

Prerequisites: Must first complete Foundations of GD, Typography, GDI, Int. Type and GDII

CDGD337 Advanced Interactive Projects 3cr

Students bring advanced skills for concept, design, and design thinking to planning, designing and prototyping dynamic screen-based interactive experiences. We investigate complex systems of information emphasizing organization, navigation and usability. We focus on designing a valuable experience for the user while creating portfolio-quality prototypes for the web.

Prerequisites: Prerequisite: Interaction Design and an advanced-level design course such as Graphic Design 3, or permission of the instructor:

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Working knowledge of Adobe Photoshop and Adobe Illustrator.

CDGD365 Information Design 3cr

This course will explore and build skills for visualising and presenting information to the public in a clear, concise, and attractive way for both print and interactive media, addressing user centered systems of information with an emphasis on organization, navigation and management. This course is suitable for advanced design students and/or professional designers.

Prerequisites: PREREQUISITES: Graphic Design II; Interaction Design or other basic UX course; (GDC students: Intermediate Portfolio). Proficiency in Photoshop and Illustrator, and familiarity with Excel.

CDGD371 Intermediate Portfolio 4cr

Students build an entry-level production portfolio based on studio assignments and visits by working professionals demonstrating a synthesis of program learning thus far: application of design and typographic principles, and type/image integration. Emphasis on portfolio presentation and verbal presentation skills. Final panel presentation determines whether the student progresses to the next level of the certificate program.

Prerequisites: Open only to certificate students who have completed all six prerequisites for Interaction Design.

CDGD471 Final Portfolio 4cr

Students prepare a portfolio for a job search that demonstrates professional competence in design, concept, technical skills, and craft and meets high standards of excellence.

Prerequisites: Open only to certificate students who have completed all other design courses.

DSGN346 User Experience (UX) Design 3cr

An introduction to current concepts and methods employed in the design of interactive media. Subjects of study include defining user and site requirements, managing information complexity, and designing visual interfaces that are usable and testable. Students will gain experience with UX essentials such as user research, personas, user flows, and user testing. Formerly called Designing Interactive Experiences.

EDFD232 Fashion Illustration (CE) 3cr

112

This course introduces illustration methods for the fashion designer. In-class exercises and demonstrations cover basic anatomy and an analysis of the idealized female and male fashion figure. Basic layout, flat sketch and technical drawing skills are taught, as well as critique and editing processes. Students illustrate color fashion plates with apparel details, fashion silhouettes, and textile rendering using magic marker, watercolor, acrylic, and gouache.

EDFD263 Intro to Creative Fashion 3cr

This course teaches students how to communicate original ideas using the geometric principles of design, and helps them to master block pattern structure. Basic garment construction, fundamental draping, and development of couture are covered. These skills are used to translate creative designs into three-dimensional form in both fabric and non-textiles.

EDFD264 Pattern Drafting 3cr

An overview of pattern drafting and an introduction to clothing construction. Students explore the different methods of pattern making, from using the dart for fit to adding shape for fullness, and learn how to take body measurements for fit. Pattern drafting and construction techniques are then applied to an original design.

EDFD317 Tailoring 3cr

An exploration of advanced construction and drafting methods for custom tailoring. Students learn how to design and construct a tailored ensemble using traditional methods that include pad stitching, foundation shaping, special lapel and collar treatments, and finishes. Prerequisites: Introduction to Creative Fashion and Introduction to Pattern Drafting.

Prerequisites: EDFD263 and EDFD264

EDFD318 Couture Design 3cr

This course helps fashion students move their designs into the luxury department with projects covering custom fit and draping, boning for shaping, soft and structured draping, seam finishes, and design motifs and embellishment. Detailing is done by hand and machine.

Prerequisites: EDFD263 and EDFD264

EDFD319 Professional Portfolio 2cr

The Portfolio course will assist students in creating a resume, combining design and skill stories, and how to present work in a designer portfolio format. The course will enable students to mix previous work with the new projects that have been completed throughout the Fashion Design Certificate Program.

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Prerequisites: Complete five required courses from Fashion Design sequence. Must take in the last semester of FDC program.

EDID200 Concept to Object:process/Furn 3cr

Design Processes for Furniture Designer provides students with the elements necessary to transform an idea into a project. Fusing design activities and methodologies, including aesthetic sourcing (visual, literary, emotional, and structural), drawing and modeling, students engage in design as a problem solving process. Repeated redefinition of idea into object pushes students to evolve as makers while building creative content for future work. Projects emphasize the development of conceptual visualization through the exploration of two and three dimensional sketch techniques. The course will focus on capturing and developing ideas using a sketchbook or folder system that will be used throughout the certificate program. Each students sketchbook or documentation is intended to provide expressive content indicative of their aesthetic interests and voice and provide material for projects, beginning with the first design class in semester two

EDID205 Drawing for Designers 3cr

The documentation and communication of ideas require fluency with symbolic and illustrative methods; a language. This course develops and refines the basis of this language, the "alphabet and grammar"" used to communicate the characteristic of objects and systems. Through the exploration of various media using architectural or industrial design contexts, this language will be applied to objects and systems allowing them to be easily understood and reproduced.

Fall

EDID215 Industrial Design Principles 3cr

An introduction to processes used in all areas of design and illustration, this course provides a foundation in the methods of concept, image, and form development. Using initial techniques such as brainstorming, mind mapping, and researching, ideas are developed for a variety of 2D and 3D solutions to applied projects. Tackling common issues of personal engagement, collaboration, and client interaction, students express a personal voice within the specific parameters of each assigned problem.

Fall

EDID216 Intro CAD/Solid Modeling/ID 3cr

This course focuses on introducing (industrial) designers to the basics of solid modeling. Aside from basic software familiarization, concepts for 2D and 3D visualization will be introduced. CAD modeling techniques, including surface modeling and plastic design best practices are highlighted with emphasis on the role CAD plays within the design process. Various examples of how CAD can be used; from creating underlays and final mechanical drawings, to exporting files for photorealistic renderings and 3D printing, are explored. Basic familiarity with computers is a must.

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Spring

EDID225 Industrial Design Form 3cr

The purpose of this course is to endow students with a vocabulary of form with which to express the function and meaning of their ideas. This will be achieved through the exploration of the objects and object vocabulary, which surround us, and the development of the students' skills to express ideas visually. The students will be required to develop their communication skills as well as refine their two and three dimensional conceptualization and actualization of projects.

Fall

EDID230 Professional Practice 3cr

This is a seminar addressing business issues important to an artist practicing as a professional furniture maker. Sessions will include topics such as the fundamentals of pricing work, basics of opening and running a small business including, interview techniques, resume development, portfolio and web site development, gallery contacts, networking, insurance, and resource organizations and publications.

EDID235 Manufacturing Process I 3cr

A materials and manufacturing awareness production course in two parts. Part one includes casting, fabrication, and molding techniques for metals and plastics. Students discuss production techniques, selection and use of modern machine tools, dies, jigs, and fixtures. Part two includes product development documentation (three-view preliminary design layout drawings) for manufacturing processes such as sheet metal, casting, extrusionplastics, injection molding, vacuum form, blow molding, and fiberglass.

Prerequisites: EDID-215 and EDID-225

Spring

EDID245 Human Factors-Ergonomics 3cr

Review of current theory and practice in issues related to human/machine interface, ergonomics, universal design, etc. Methods and practice of human factors research applied to the re-definition of a product idea.

Prerequisites: EDID-215 and EDID-225

Spring

EDID315 Industrial Design I 3cr

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An introduction to the design process and problem solving techniques used in industrial design. The course presents the tasks required for research, preliminary concept sketching, design refinement, presentation, and fabrication possibilities. It also introduces the use of media and drawing techniques and basic scale model making.

Prerequisites: EDID-235 and EDID-245

Fall

EDID317 History&Development/Mod.Furn 3cr

An overview of the history of furniture making in America. We survey the craft and form of furniture over the past 250 years. We examine current trends in contemporary furniture design and manufacture, the current field of furniture, and an understanding of its historical evolution. Furniture will be considered as an element of social and economic development. Exploration of the development of furniture relative to both the domestic market and public sphere will frame the social role of furniture in our culture. We cover the development of styles and their sources; the evolution and organization of furniture manufacture, from early joinery to the emergence of cabinetmaking techniques; the development of machine technologies, and the re-emergence of craft within the studio furniture movement; the emergence of hybrid manufacturing and the impact of the effects of globalization on the craft and industry of furniture making. Important: This class does not satisfy the History of Art requirement for the BFA degree.

EDID325 Manufacturing Process II 3cr

An investigation of specific problems in the manufacturing development of a product. The course uses a detailed case study of a new product from its inception to its completion. Topics include cost analysis and research into the technical problems of competitive manufacturing and marketing.

Prerequisites: EDID-235

Fall

EDID345 Industrial Design II 3cr

Integration of creative concepts with the development of visual communication skills, such as rendering and model making.

Prerequisites: EDID-315

Spring

EDID355 Professional Practice 3cr

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Directing of students through the process of developing a professional portfolio. Basic elements of Illustrator, Photoshop, PowerPoint, Acrobat, web based. Students required to present complete portfolio piece at reviews. [Formerly titled Portfolio and Presentation]

Prerequisites: EDID-315

Spring

EDID365 Product Development Lab 3cr

Explores the process of bringing a product to fruition with special emphasis on the role of the industrial designer in new product development. The course will deal with the design and development of real products. Students work with local manufacturers and their product development groups.

Prerequisites: EDID-215, EDID-225, EDID-235, EDID-315

Spring

EDID415 Industrial Design III 3cr

Design projects developed in full four-phase programs: Analysis and conceptual design refinement; Final Design and Documentation; and Model and presentation.

Prerequisites: EDID-345

Fall

EDID425 Degree Project I - Research 3cr

A student selected and faculty approved project of significance.

Prerequisites: EDID-345

Fall

EDID435 Degree Project II/Development 3cr

A student selected and faculty approved project of significance.

Prerequisites: EDID-425

Spring

Communication Design

CDGD206 Sophomore Graphic Design Studio 6 cr.

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This sophomore-level required course meets twice per week for 5 hours; it is a 6-credit course. Sophomore Studio provides a foundation in the methods of concept, image, and form development. Students are introduced to the language of design; working in both traditional and digital media, students will explore issues of form, color, texture, image, sequence and narrative, learning how to harness these elements to communicate concepts clearly, effectively and expressively. Mind-mapping and the sketching of ideas as a part of the process of inquiry and design problem solving also will be covered. Faculty will collaborate and share lectures and demonstrations across all sections.

Prerequisites: SFDN185

Double Hybrid Studio

Departmental Requirement Fall

CDGD210 Typography I 3 cr.

A study of the design and use of basic letterforms, typographic contrast, hierarchy of information, major type families and their characteristics, typographic grids, and legibility.

Prerequisites: SFDN185

Hybrid Studio/Critique

Departmental Requirement Fall

CDGD214 Lettering in Design 3 cr

This course will cover the fundamentals of brush lettering and design from a sign painting perspective.

In the first section, we'll study and execute four key alphabets that are central to hand lettering and commercial design. The alphabets will first be formed by pencil and chalk, then crafted by brush as the lesson advances.

The second section will cover lettering layout. Here we will examine principles of natural layout, format, negative space, line value, rhythm, and color. These principles will then be utilized in the creation of painted show cards-advertising signs that are intentionally temporary and often painted on paper.

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The third section will explore the use of "bells and whistles" in letterform and design. Here we will learn how to alter the traditional letterform to create a more expressive cousin. We'll also look at other forms of ornamentation including dimension, convex, pinstripes, and flourishes.

The final project will entail creating a hand-painted design for a mock client. You will be responsible for interpreting the client's requests and creating a design that utilizes the skills you've learned throughout the semester.

Prerequisites: CDGD210

Critique

Departmental Elective Fall/Spring

CDGD220 Graphic Design I 3 cr.

Basic design principles and skills are applied to graphic design projects. The course presents the formal elements of typography, color, and idea generation in the context of design responsibility and the development of professional attitudes and approaches to problem solving.

Prerequisites: CDGD210

Hybrid Studio/Critique

Departmental Requirement Spring

CDGD230 Typography II 6 cr.

In this sophomore level required course, students continue their typographic education by looking at issues of text type, typographic structure and hierarchy. They develop their sensitivity to type at both a macro and micro level, and explore issues related to typography for print and screen environments. The course meets twice a week.

Prerequisites: CDGD210 Typography I

Double Hybrid Studio

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Departmental Requirement Spring

CDGD300 Letterpress Printing 3 cr.

An introduction to hand set metal and wooden type, letterpress printing techniques, and limited edition printing on fine papers. Emphasis on typography rather than pictorial elements.

Prerequisites: CDGD210 or by permission of the instructor with equivalent class, or printmaking courses

Critique

Departmental Elective

CDGD304 Web Design I 3 cr.

Introduction to web development skills through the use of Dreamweaver and Flash. Design for the web and multimedia through the use of assignments, examples, and discussion.

Prerequisites: CDGD220

Critique

All College Elective

CDGD305 Community Partnership Design 3 cr.

This course explores almost every area involved in print production for graphic designers, including offset printing, printing estimates and working with a printer, binding and finishing paper, pre- press, color seperation and color proofing, and halftones and scanning issues. The course centers around a community service- based print project that is designed and produced by students.[Formely Print Production]

Prerequisites: CDGD220, CDGD230

Critique

Departmental Elective

CDGD322 Information Architecture II 3 cr.

Advanced course in information architecture focused on exploring large and complex, user-centered systems of information with emphasis on organization, navigation and management. Subjects of study include printed and interactive media. The course content represents professional problem-solving methods in interface design.

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Prerequisites: CDGD342 Information Architecture I

Hybrid Studio/Critique

Departmental Requirement Spring

CDGD340 Graphic Design II: Making Meaning 3 cr.

In this junior level required course, students explore how meaning is created through design by looking at visual communication strategies, communication theory, and the roles of message senders and receivers in the communication process. Coursework includes both print and simple time-based applied projects.

Prerequisites: CDGD220 Graphic Design I

Hybrid Studio/Critique

Departmental Requirement Fall

CDGD341 Typography III: Designer and Content 3 cr.

In this junior level required course, students continue their study of typography, focusing on issues of authorship and editing, and the designer's relationship to text content. Projects are more experimental in nature, and move beyond the single project to simple systems. Additionally, the course involves a research component which prepares students for their degree project research the following semester.

Prerequisites: CDGD230

Hybrid Studio/Critique

Departmental Requirement Spring

CDGD342 Information Architecture I 3 cr.

This is an introductory course covering basic concepts, methods, and procedures of information architecture with a focus on managing information complexity. This course addresses issues of information structures developed for various contexts and audiences. Subjects of study include print and interactive media, and both static and dynamic approaches to information design.

Prerequisites: CDGD210 & CDGD220

Hybrid Studio/Critique

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Departmental Requirement Fall

CDGD343 Poster Design 3 cr.

This junior/senior course continues to develop skills in creativity and graphic design focusing on the poster's utilitarian goal. The course emphasizes conceptual, visual and technical aspects of the medium, its history and impact on society emphasizing persuasive communication and education.

Prerequisites: CDGD220

Critique

Departmental Elective

CDGD347 Advanced Web Projects 3 cr

Students will apply their knowledge of web design to create advanced applications that deal with the manipulation and display of data. The course will cover a range of technologies essential to modern web design and development including HTML5, CSS3, JavaScript, jQuery, PHP and MySQL.

Prerequisites: CDGD304

Critique

Departmental Elective Spring

CDGD353 Type Design 3 cr.

This introductory elective course for junior and senior graphic design majors explores the drawing and spacing of collections of digital letterforms. Students will develop original typeface designs with the goal of enhancing their sensitivity to the shapes and uses of letters within print and electronic media. Particular emphasis will be placed on developing better insight into the history and classification of typefaces through the exploration of the influence that traditional and digital design tools have had as shapers of form. Projects will include designing typefaces in response to particular design challenges, the creation of expressive and decorative letterforms, and the consideration of the possibilities within on-screen dynamic typography.

Prerequisites: CDGD210 Typography I

Critique

Departmental Elective

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CDGD357 Identity Systems 3 Cr

Branding is an integral part of professionalpractice. It goes far beyond logo design to engage all elements of a designer's skill set,from critical anaylsis and strategic thinking, to exacting typography and color theory. Branding establishes systems that allow an organization to visually express its values and aspirations, and creates a clear and consistent voice across materials, including business papers, websites,brochures and interfaces. In this class we will explore the branding process from the ground up. We will create research-based identity systems that include refined logos, color palettes, typography suites, and image guidelines, all of which will be fleshed out in print and digital samples. We will discuss branding's historical precedents, and how those models are evolving in an increasingly digital environment.

Prerequisites: CDGD-220 and CDGD-230

Hybrid Studio Critique

Elective Fall/Spring

CDGD363 Programming for Designers 3cr

This course is written for visual thinkers with little to no prior experience in computer programming. Students focus on the development of programmatic systems to create graphic studies in interactivity and motion. Students are expected to perform at an advanced conceptual and basic programmatic level.

Hybrid Studio Critique

Spring

CDGD364 Language of Motion 3 cr.

In Language of Motion students explore visual narratives in reference to time-based media. The course emphasizes conceptual, visual and technical aspects of typography in motion. [Formerly DynamicTypography]

Prerequisites: CDGD210

Critique

Departmental Elective

CDGD368 Disobedient Design:From Activist Posters to Augmented Reality 3cr

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Start a revolution. Make your own protest poster. Break the internet with digital resistance . Inspired by the protests that started in November 2016, this course looks at the power of public activism as it has evolved from the letterpressed broadside to today's acts of technological interventions. Students examine criteria for successful acts of resistance through a variety of project deliverables, ranging from letterpress posters, websites, digital installations, augmented reality experiences, and more.

Hybrid Studio Critique

Spring

CDGD369 Experimental Book Arts 3cr

Go beyond thinking about the book as two covers and a spine! Learn several basic bookbinding methods then adapt them to create experimental book structures using alternative materials and methods. Make books that move, books that change with time, and books that challenge the definition of what a book can be.

Prerequisites: Open to Juniors and Seniors Only

Critique

Fall

CDGD392 GD Course Assistantship

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assistants submit a Course Assistantship form with the faculty and chair's signatures to the Registrar during registration and no later than the end of the Add/Drop period. Students who are performing a Teaching Assistantship should follow Independent Study procedures

Prerequisites: By Permission of Instructor

CDGD398 GD Internship

An internship is a supervised professional experience that allows you to use classroom training in a real work environment, develop your skills, focus your career goals, and make professional contacts. MassArt offers students enrolled in a degree program the opportunity to register an internship for credit. An internship counts as 3 studio elective credits. To receive credit, the internship must meet our basic internship requirements, be approved by a faculty advisor, and registered before you start the internship.

CDGD399 GD Independent Study

Juniors and seniors who have a specific studio project which cannot be accomplished within the structure of a course may arrange to work with a faculty member on an independent basis. The Independent Study form (available in the Registrar's Office) includes a description of the project. Students may take only one 3-credit independent study each semester, and no more than four independent studies will count toward the degree. Independent Study forms, with faculty and the chair's signatures, should be submitted to the Registrar during registration and not later than the Add/Drop deadline.

Prerequisites: By Permission of Instructor

CDGD402 Design Research 3 cr.

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In this studio/seminar course, students will explore multiple goals and methods of design research in the context of communication design practice. Through case studies and studio projects, multiple creative strategies and tactics in design research will be investigated. The course will make a strong argument for performing rigorous experimentation and analysis as creative practice that makes designers' way of thinking and communicating so unique. Additionally, the course involves a student-defined research project in preparation for degree project course.

Prerequisites: CDGD340, CDGD341

Lecture/Seminar

Departmental Requirement Fall

CDGD403 Professional Practice 3cr

Professional Practice is a deep dive into the business of graphic design: how it works, how it's structured, and how best to prepare yourself for a successful career. We'll look at the different career opportunities available to you in design studios and what you can expect when you're hired. We'll explore everything it takes to be a freelancer from writing proposals and setting prices to managing clients and delivering work. We'll investigate what it takes to start your own studio, how to finance it, how to market and sell your services, and how to win repeat business. And we'll see how entrepreneurial designers are launching innovative new businesses and services.

Prerequisites: CDGD-230

Lecture

Spring

CDGD411 Graphic Design IV 3 cr.

Students work on complex projects, researching and developing content. Finished work is portfolio quality, and conceptual thinking, problem-solving, and formal design principles are explored in each critique. Projects allow opportunity for discussion concerning professional business practice and design ethics.

Prerequisites: CDGD340 & CDGD341

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Hybrid Studio/Critique

Departmental Requirement Fall

CDGD414 Advertising and Art Direction 3 cr.

This course is an introduction to advertising and explores the kinds of problems that advertising agencies deal with on a day-to-day basis. The interrelationship of the art director, the client, and the consumer is emphasized with the focus on solutions to typical agency problems. When possible, informal talks with art directors and visits to Boston agencies are arranged. [Formerly titled Advertising Design]

Prerequisites: CDGD220 or CDIL220

Critique

Departmental Elective

CDGD416 Advanced Projects I 1.5cr

Advanced Project I, a senior-level required course, is an advanced study in areas of special inquiry within the field of communication design. Students focus on projects that involved design research reflect current industry expertise. Students are expected to perform at an advanced conceptual and formal level.

Prerequisites: CDGD-340 and CDGD-341

Fall

CDGD417 Advanced Projects II 1.5cr

Advanced Project II, a senior-level required course, is an advanced study in areas of special inquiry within the field of communication design. Students focus on projects that involved design research reflect current industry expertise. Students are expected to perform at an advanced conceptual and formal level.

Co-requisites: CDGD-340 and CDGD-341

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Fall

CDGD420 Graphic Design Portfolio 3 cr.

Preparation of an entry-level portfolio demonstrating professional competence in design, concept, and craft with an emphasis on the student's particular area of interest. Students pass a review panel, produce a resume, and interview in the professional design community.

Prerequisites: CDGD-411 and CDGD-416 and CDGD-417

Critique

Departmental Requirement Spring

CDGD430 Senior Degree Project 3 cr.

A continuation of the research began in GD 303X, in this course students synthesize the research, document the design process, and produce a final project based on the chosen subject of their research. At the end of the course, process documentation and design projects are exhibited at a departmental showing.

Prerequisites: CDGD-411 CDGD-416 CDGD-417

Critique

Departmental Requirement Spring

Fashion Design

EDFD101 Culture, Dress and Identity 3 cr.

This course will examine the relationship between culture, dress and identity. We will look broadly across the world at how dress and adornment are extensions of one's culture and identity and compare and contrast this to our own. We will explore the significance of dress through rituals, ceremonies and rites of passages as well as through a social and political lens. We will also examine the effects of globalization on dress, what this means in our contemporary world, and how this is leading us into the future.

Lecture/Seminar

All College Elective

EDFD102 Color,Line&Design 3cr

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This is a hands-on class using innovative 2D and 3D projects and field trips to explore basic design elements and color theory which have direct application across all areas of Design. The student will develop skills to communicate ideas through bold and deliberate use of the color, pattern and shape and follow those ideas through to create a variety of end product with with the awareness of the past and an eye to the future.

Fall

EDFD203 Costume Design - Through Topics in Film 3cr

This course introduces students to the vital role of costume design in the cinematic representation of history and fashion. Lessons will be exploratory and selective in their subjects and methodologies. Beginning with the ancient world, yet focusing on the period from the Renaissance to now, film clips, paintings and prints, and theatrical comparisons will be explored to discuss the diversity and the dynamic evolution of modes of costume. Students will create costume design stories within project proposals and use design concepts that can be related to their major study. The course will direct students to various methods of making, presenting narratives and working in both 2D and 3D.

Lecture

Fall

EDFD208 Digital Tools for Fashion Design 3 cr.

Students learn how to use industry software applications to create projects typical in the fashion industry. The presentation fashion plates digitally created are used to enhance their portfolio. Students use digital image collage and manipulation techniques; generate designs using a digital flat sketch, and render fabrics and textures all with computer software. Digital print development, establishing a library of flats and notions, and emulating traditional media are also explored.

Prerequisites: Must complete Foundation Year

Critique

Undergraduate Elective Spring

EDFD216 Digital Tools for Textile Design 3cr

In this course, students will produce a series of textile designs using the most commonly used industry applications, Adobe Photoshop and Illustrator. Students will gain a firm foundation of the design principles relating to textile design and the tools used to create them.

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Undergraduate Elective Fall

EDFD220 Fashion Illustration I 3 cr.

An introduction to the methods of Illustration for the fashion designer. Basic anatomy and analysis of the idealized fashion female and male figures will be emphasized through demonstrations and in-class exercises. Students will illustrate color fashion plates with apparel details, fashion silhouettes, and textile rendering using magic marker and watercolor. Basic layout skills, critique and editing processes are critical foundation teachings. Flat sketch, technical drawing skills are taught.

Prerequisites: Must complete foundation requirements.

Hybrid Studio/Critique

Departmental Requirement Fall

EDFD221 Fashion Illustration II 3cr

An advanced course in hand rendering fashion illustrations for the fashion designer. The fashion figures will be manipulated in multi-figure fashion spreads for collection and portfolio building. Demonstrations by instructor will cover layout and composition variables incorporating interactive movement of both the figure and the clothing. Anatomy studies, drawing from the live model, exaggeration of the garment silhouette, volume and creative style will be emphasized along with advanced textile rendering and detailed flat sketching. Directional information will be presented for use of computer-aided multi-media layouts using both hand and computer-aided fashion rendering.

Prerequisites: EDFD220

Department Requirement Spring

EDFD229 Mindful Collective/Sustainability Making

Artists and designers have pathways to research, develop and adopt actions that affect sustainability processes. This course will cover sustainability initiatives - through discussions, projects and making - to create a foundation for decoding and envisioning purposeful outcomes and practices for a more-than-human world. All disciplines, industry and mediums welcomed. * applied credit for Sustainability Minor

Critique

Fall

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EDFD255 Creative Fashion Design I 3 cr.

Communication of original ideas using geometric principles in design as well as master block pattern structure. Students learn fundamental draping and development. Basic garment construction and the experience in translating creative designs into 3D form. Work in fabric and non-textiles.

Prerequisites: EDFD256

Hybrid Studio/Critique

Departmental Requirement Spring

EDFD256 Pattern Drafting and Construction I 3 cr.

An introduction to the principles and procedures in the development and use of the flat pattern. The course introduces basic master block patterns with design changes.

Hybrid Studio/Critique

Departmental Requirement Fall

EDFD257 Pattern Drafting and Construction II 3 cr.

Development of master block patterns to include dress and pant with additional design options. Introduction to machine stitching for basic garment construction.

Prerequisites: EDFD256

Critique

Departmental Requirement Spring

EDFD260 Fashion Industry Production/Gerber 3 cr.

Designing for mass-production using CAD - Gerber garment technology. Production methods of design and pattern/marker making utilizing the Accumark Silhouette System.

Prerequisites: EDFD256

Critique

Departmental Elective

EDFD303 Paris to Antwerp: Crossing the Fashion Spectrum 3 cr.

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This course will examine both the historical heritage of couture design as found through the textiles, techniques and craftsmanship of the designers, as well as a contemporary view of the globalization of fashion and where designers are heading in the future. We will examine how old world techniques continue to shape and work within the technological advancements of the present day. Students will examine how Antwerp has surfaced as a leading innovative force in fashion and what this means in the larger global context. All of this will be accomplished through lectures and coursework throughout the semester and will culminate with a two week travel program to Antwerp and Paris. Students will complete a final project based on their research, exploration and travel experiences.

Travel

All College Elective

EDFD306 Product Development 3cr

This course studies the fashion industry and breakdown of the product development process into practical steps to learn to produce a clothing line. Learning about how to research, create a technical package and present a product line with a brand strategy for target consumer will also be covered. Students use digital image collage and manipulation techniques; generate designs using a digital flat sketch, and render fabrics and textures all with the computer software. Digital print development, establishing a library of flats and notions, and emulating traditional media are also explored.

Prerequisites: EDFD255 and EDFD257

Department Requirement Fall

EDFD311 Biodesign: Designing for a Better World 3cr

Biodesign: Designing for a Better World There is tremendous potential for positive advancements that can be made by bringing artists and designers into the conversation and process of biological design. Biotechnology has entered into many aspects of our daily lives, from advancements in medicines and greener solutions to the negative impacts of genetically modified foods and crops. The speed of these developments is incredulous, and should not be left to market forces alone. With a focus on people and their experiences, a deeper level of understanding and critical thinking around these technologies can emerge to envision and design a better world.

This course offers an interdisciplinary platform for students to engage, collaborate and experiment in regards to biotechnologies and our

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future. The class will participate in the Biodesign Challenge, a global design challenge bringing together students among leading art, design and research institutions to compete. Introducing art and design students to new forms of fabrication, tools and materials used in biotechnology. Students in the course will be connected to a team of expert consultants, have access to an extensive array of resources and biotechnology labs situated right in the Boston area. Through speculative and creative thinking, research and innovation, small teams of students are asked to envision, develop and prototype a biodesign project addressing a real problem with an achievable design solution. At the end of the semester, one team project will be selected to represent MassArt at the Biodesign Summit at the MOMA in NYC at end of June 2019

Critique

EDFD354 Creative Fashion Design II 3 cr.

Intermediate level fashion design. Students develop more intricate designs into finished projects. Emphasis is on personal interpretation of projects in ready-to-wear categories that include swimwear, sportswear and outerwear.

Prerequisites: EDFD255, EDFD275

Hybrid Studio/Critique

Departmental Requirement Fall

EDFD355 Creative Fashion Design III 3 cr.

Students develop more intricate designs into finished projects. Emphasis is on personal interpretation of projects in couture design that include lingerie, bridal, eveningwear and theatrical costume.

Prerequisites: EDFD354

Hybrid Studio/Critique

Departmental Requirement Spring

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EDFD392 FD Course Assistantship

EDFD398 FD Internship

EDFD399 FD Independent Study

EDFD450 Degree Project I 3 cr.

Students research and design a collection presenting a theme-oriented portfolio of finished work. Individual guidance in executing boards for original design ideas based on sources of inspiration that may include important artists, ancient cultures, historical eras, scientific resources or a specialized related technical design area. (two semesters)

Prerequisites: EDFD355, EDFD306, EDFD359

Hybrid Studio/Critique

Departmental Requirement Fall

EDFD451 Degree Project II 3 cr.

Student research project - part II. Students present a theme-oriented formal collection of finished work based on their research. Sources of inspiration may include important artists, ancient cultures, historical eras, scientific resources, or a specialized related technical design area.

Prerequisites: EDFD450

Critique

Departmental Requirement Spring

EDFD455 Creative Fashion Design IV 3 cr.

Students are encouraged to seek their personal direction in fashion design in order to develop their full potential while reaching professional standards in portfolio presentation. Students work on a collection of ensembles that represent advanced techniques in fashion design.

Prerequisites: EDFD306, EDFD355, EDFD359

Hybrid Studio/Critique

Departmental Requirement Fall

EDFD457 Specialized Fashion Study 3 cr.

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An introduction to related fashion specialties of millinery, gloves, footwear, handbags, fur, leather, and cosmetics. Topics include origins, methods of production and finishing, construction, terminology and quality identification. Assignments include millinery and glove design.

Prerequisites: EDFD355

Lecture/Seminar

Departmental Elective

EDFD458 Couture Techniques 3 cr.

Techniques and design details such as trapunto, couching, and quilting. Technical elements of the couture will include embroidery, pleating and advanced seam finishes.

Prerequisites: EDFD359

Lecture/Seminar

Departmental Elective

Film/Video

MPFV101 Intro to Film and Video 3 cr.

This course introduces students to working with film and video. The emphasis of the course will be each student's personal film and video work. Classes include technical demonstrations and lectures along with screenings and discussions of film and video work, both by other artists and projects made for the class. Students will learn the basics of digital video production (including HD), how to shoot 16mm using a Bolex non-sync camera and the fundamentals of digital editing. No previous experience required.

Hybrid Studio/Critique

All College Elective

MPFV104 Collage and the Moving Image 3cr

This course introduces students to making handmade films and video collages with an emphasis on exploring various layering methods. The course will focus on creating rhythmic movement and textures through layering processes in analog, digital and hybrid forms. Students will learn techniques for applying imagery directly onto 16mm film by drawing, painting and collaging as well as experimenting with various

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blending methods on After Effects. Each student will use the skills attained in this course to complete a final collage project consisting of a visual arc created through the use of unique color, tempo, sequencing, and other formal elements. The goal of this class is to introduce students to the technical and artistic use of hand-applied elements and computer-generated effects to produce moving images and to become familiar with the concept of movement, space and time.

Hybrid Studio Critique

Undergraduate Elective Fall

MPFV105 Cinematic Drawing 3cr

Students can take this class in place of a Drawing Project class, one of the first year Spring requirement. The interplay between still and moving image will be explored through a wide range of drawing techniques, in-class screenings, and image lectures. Students will experiment with layering, sequencing, and collaging, while exploring the relationships between stasis and movement, canvas and screen, surface and projection. During a number of camera-less filmmaking sessions, students will be introduced to the process of applying imagery directly onto 16mm film by scratching, drawing, and coloring. The goal of this class is for students to develop conceptual and visual ideas through the multifaceted, interrelated nature of drawing and moving image. Students can take this class in place of a Drawing Project class which is one of the first year Spring requirement.

Hybrid Studio Critique

Instructor's Discretion

MPFV106 Image in Motion: Fundamentals of Filmmaking 3cr

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This introductory level course focuses on basics of 16mm film, video and sound, exploring motion and time as basic elements of filmmaking.

Students learn the basic operational techniques of analog and digital production and explore the camera as a portable and performative tool able to render space as poetry. No previous experience required.

Hybrid Studio Critique

Instructor's Discretion

MPFV107 Internet: an Exploration Tool for Visual Art 3cr

A research and development lab with open portals to other spaces, cities, and communities.

Creative student led public presentations of experiments using open communications to produce dialogue about the current affairs, technology, and history are the framework of this class.

Cell phones, free and open source applications can be used to produce personal works that challenge the use and consumption of the internet as a platform communicating ideas and disseminating stories. Students are encouraged to develop arguments that are new and even unresolved or are still developing in current research.

Connecting other cities, community leaders, and practitioners alike that are interested in

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further developing and creating a structured conversations about the visual works being created and how every student can contribute to the virtual growth of knowledge.

Hybrid Studio Critique

Fall

MPFV108 Beyond the Box: Contemporary Transmedia Art Practice 3cr

This course introduces students to the fundamental aspects of Transmedia production for a contemporary art practice. Through class screenings and field trips to museums and galleries students will be exposed to an array of

Transmedia genre's such VJing, VR, AR, Expanded

Cinema, Interactive, Immersive, Intervention and

Site-Specific Installation. This course will present students with various conceptual, theoretical, technical and aesthetic strategies employed by a wide range of media artists from the 1960s to the present day. In addition to class discussions highlighting key figures and concepts, students will be expected to take part in collaborative media projects and be a contributing part of the Transmedia Class

Exhibition that will take place in the second half of the semester. Class demonstrations and group projects will offer students an opportunity to learn introductory technical skills relating to video production, real-time animation, and VR

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within the context of an art practice. Special emphasis will be placed on post-production concerns such as creating and constructing installations and writing brief artist statements about one's work.

Hybrid Studio Critique

Fall

MPFV210 Film I 3 cr.

The first semester of the sophomore film major will introduce the student to non-synchronous 16mm filmmaking, with an emphasis on experimental, exploratory film techniques. Through a series of class exercises and individual student assignments, students explore 16mm non-synchronous production, basic lighting, and analog film editing techniques. The emphasis of this class is on the student finding a personal means of expression using the film medium. Offered Fall.

Prerequisites: Open to Film/Video Majors or by permission of instructor

Hybrid Studio/Critique

Departmental Requirement Fall

MPFV211 Film II 3 cr.

In this second semester required sophomore film course students develop their personal skills and ideas in 16mm film production. In this class students will explore an in depth use of the Arri-S and the Arri-BL Sync cameras, lenses and filters. In addition, students will study the principles of lighting and exposures for color film stocks and practice how to work with the Lab for color digital transfers. The equipment and demonstrations are explored within a context defined by the history, aesthetics, and theory of film practice. Offered Spring.

Prerequisites: MPFV210 or by permission of instructor

Hybrid Studio/Critique

Departmental Requirement Fall/Spring

MPFV220 Video I 3 cr.

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This introductory course focuses on video production for personal time-based art making. Through a series of in-class workshops and assignments students will develop basic skills in digital video production, while becoming familiar with video's unique technical and aesthetic qualities. Using an array of digital and analog tools, including video cameras, computers, microphones and digital and analog image processors, the students explore multiple strategies for making art with video. Production topics covered include lighting, shooting and audio recording for video. Video post-production topics covered include non-linear editing and current methods for output and distribution. Additionally, screenings, readings and discussions expose and challenge students to discover the diversity that video as a medium has to offer artists. Offered Fall.

Hybrid Studio/Critique

Undergraduate Elective Fall

MPFV221 Video II 3 cr.

Video II is an intermediate level video production course for personal time-based art making that advances the techniques and concepts learned in Video I. Through a series of workshops and assignments students are challenged to further develop their independent video work while experimenting with the various modes of presentation and distribution of video art. Students will learn an array of digital and analog tools to make expanded video projects which may include: multi-channel installation, live video mixing, webcasting, performance, and installations using found objects and live video feeds. Field trips to local galleries and museums will expose and challenge students to discover the diversity video, as a medium has to offer artists. This class aims to challenge notions of what video art is, and can be. Students are expected to think outside the box and try new approaches to time-based media. Through both group projects students learn to seek out new audiences and create unique methods of presenting video in the public arena. Individual projects centered on contemporary media issues provide students the opportunity to gain skills in intermediate production techniques. Offered Spring. Prerequisite: MPFV220 or by permission of the instructor.

Prerequisites: MPFV220

Hybrid Studio/Critique

Departmental Requirement Spring

MPFV234 Optical Printing: Conscious Manipulation of Space, Time and Light 3 cr.

Students will focus on how to shape the space, time and light of the motion picture image on one of the most versatile of film devices, the optical printer. The optical printer consists of a camera, a projector head and a light source on which a student may rephotograph already developed film to extract and explore the hidden potentialities of the image. Students will quickly gain hands-on experience with the printer through numerous demonstrations and exercises. Screenings of key works will illustrate myriad techniques. Students of all artistic disciplines are welcome and encouraged to attend.

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Prerequisites: MPFV101 or MPFV210 or by permission of instructor

Hybrid Studio/Critique

All College Elective

MPFV235 Scriptwriting I 3 cr.

A successful short-film is not simply an abbreviated version of a feature film but entails a different kind of storytelling. Edgar Allen Poe's description of a good short story is as relevant to film as it is to literary fiction. A good short story, he said, is not just "an incident or an episode extracted from a longer tale," but a work of narrative-art that "impresses the reader with the belief that it would be spoiled if it were made longer." Designed as a writing workshop, this course will address the many facets of writing screenplays for short films. Students will develop at least three scripts (2-8 pages long), from idea to end product, through individual and collaborative exercises, rewriting, and discussion of their works-in- progress. Students are encouraged to write scripts that can be produced with resources available to most students.

Hybrid Studio/Critique

All College Elective

MPFV245 Sound I 3 cr.

This is a required course for the F/V major. Students are introduced to studio and field recording and post production for audio through a series of workshops. Subjects covered include the basic physics of sound, digital and analog audio formats, microphones, and understanding how to use audio recorders, amplifiers and speakers. The basic structural properties of sound and their relationship to the listener are explored through sound editing, effects processing and audio mixing using digital audio editing software. Emphasis is placed on the consideration of sound as a medium in its own right with a study of acoustic principles and effects. Whether working on soundtracks, musical compositions or sound art, this class provides the student with a solid foundation in audio production. No previous experience required. It is advisable to take this course in the sophomore year.

Hybrid Studio/Critique

Departmental Requirement Fall

MPFV249 Editing I 3cr

This hands-on editing class introduces both traditional and experimental editing techniques on Avid nonlinear editing software. Through screenings, in-class demonstrations and short

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editing assignments, students will study the art and aesthetics of editing in experimental, documentary and narrative genres while developing a vocabulary to discuss both the function and art of the cut. The class covers elements of storytelling, performance, pace, emotion, action, continuity, and time manipulation.

Hybrid Studio Critique

Undergraduate Elective Fall and Spring

MPFV256 Video Installation:Site, Performance, Sculpture 3cr.

Video installation is an ever-expanding contemporary art genre. This introductory course is open to undergraduate and graduate students who are interested in learning how to create videos and integrate them into 3D and interdisciplinary art practices. Readings, screenings and discussions address a range of video installation art practices past and present. Students are challenged to address various approaches to video/audio creation, presentation styles, and the meanings created from pairing video with forms, performance or environments. Through the semester, projects progress from assignment-based prompts to a final, self-designed project. Technical demonstrations cover strategies and techniques for filming, video editing in Adobe Premiere Pro, and the use and positioning of video projectors and other devices in relationship to surfaces and forms. The goal of this class is for students to become technically proficient in creating and combining video, audio and physical elements in conceptually cohesive ways. [Formerly titled Intro to Video Installation]

Fall Only

MPFV257 Digital Compositing: Manipulating Time and Motion 3cr

This course is an introduction to visual effects techniques for combining separate image sources such as live action, 2D animation, and still images into one cohesive project.

Among the course topics students learn animation techniques, working with masks and traveling mattes, track motion, creating motion paths, remapping time, and rotoscoping. Basic color theory is also addressed.

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The primary software is After Effects which is also demonstrated in cross-application workflows with Photoshop and Premiere. Techniques are explored through multiple exercises and the class will conclude in the realization of one final project.

Lectures of pre-digital and digital compositing techniques and the screening of contemporary artists' works create the conceptual framework of the class and informs the students' visual vocabulary.

Prerequisites: Basic Knowledge of Photoshop and Premiere

Hybrid Studio Critique

Instructor's Discretion

MPFV258 Breaking the Frame: Performance in and Beyond Cinema 3cr

This course focuses on the practice of performance and the influence of performing arts in and beyond cinema. The class will be divided into three modules; action, interaction and mise en scene, concentrating on performance for stage, public and screen. This class offers an immersive experience where students will learn traditional and non-traditional acting techniques, contemporary performance techniques including psychophysical and dance theater, develop skills as performers through in-class physical training and work with "non-actors" and professional performing artists with the ultimate goal of

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acquiring a unique vision as directors/filmmakers. Selected viewings and readings supplement each lesson, and occasional guest speakers from the dance, theater, film and art world bring further depth and context to the subject matter.

Hybrid Studio Critique

Instructor's Discretion

MPFV259 Brackhage's Songs and Their Context 3cr

The course introduces students to Stan Brakhages SONGS a 30 film serial work.(1964-69) , Each of the films will be presented and discussed in class along with other relevant films,poems, music and critical texts. Scans of each of the

SONGS should be available for out side of class review and study.

The use of 8mm an ""amateur"" film gauge largely used for home movies, the formal structures of the individual films and their relationship to the overall series, aesthetic approaches to journalism personal and social and the historical, politcal, and artistic contexts will be covered in class.

Students will be required to make presentations of their responses to the SONGS in class and to make time based work that find inspiration in these works.

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Hybrid Studio Critique

Fall

MPFV261 Handmade Film 3 cr.

This course is designed to introduce the student to the physicality of film by directly painting onto film and hand-processing film. No previous experience required.

Hybrid Studio/Critique

All College Elective

MPFV266 Dance Film and Music Video 3cr

This course examines the history of dance film and avant-garde filmmaking and their influence on contemporary music videos. The class includes viewings and production assignments that ask students to create their own work based on principles of the moving image, choreography, and rhythm. At the end of this course students produce a short dance film or music video in collaboration with local dancers and musicians.

Prerequisites: MPFV-210 and MPFV-220

Hybrid Studio Critique

Spring

MPFV267 Change Agent: Storytelling in Boston 3cr

In collaboration with the City of Boston through civic engagement and participation through production of art works including moving image and beyond. Students will develop models, templates, and design a strategy for creating dialogues between the city and its constituents. Students are encouraged to sit at the table with experts in their areas of focus for developing a foundation of data and information to support the work and arguments they create while preparing for a presentation from researched and found materials.

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The goal of the course is to think critically about politics, history, and community while defining what it means to be an artist creating solutions to change the future for others. Students will be guided by the Civic Engagement handbook and be introduced to the fundamentals of how city departments work and how to collaborate with them. Meetings with stakeholders will provide a foundation for learning and creating work that is contributing to a larger conversation around a city initiative. The Mayor's Office of New Urban Mechanics is providing support via their team and programs like Beta Blocks ""Exploring new approaches for community-led innovation in public spaces"" and other projects that allow for students to connect with current and real concerns the city maybe experiencing.

Students will be prompted to start with a question and develop that into work that can continue or start a dialogue in a way that is different and new from the one that is already being told. Allowing for a new voice to present and filter ideas as service to the city for expanding on the form, medium, and ability to communicate one idea to community.

Hybrid Studio Critique

Spring

MPFV286 Electric Dreams: Frontiers of the Moving Image 3cr

Emergent technologies such as Augmented Reality (AR) and Virtual Reality (VR) are pushing the boundaries of moving images into a dynamic array of new time-based media frontiers. From film festivals like Sundance, Cannes, and Toronto, to the world's leading art museums, to major branches of news and entertainment markets, innovations in the way we experience media are dramatically expanding. Electric Dreams: Frontiers of the Moving Image Course focuses upon immersive storytelling through VR Filmmaking and AR

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Experiences. Whether the director's intention is narrative, non-fiction, or conceptually driven work, directing an immersive experience comes with a unique set of production and post-production processes that students are exposed to through class technical demonstrations and a series of student-driven projects. In addition to diving into the fundamental concerns of directing and designing for AR and VR immersive experiences, this hybrid course offers students an introduction to new media theories and current critical discourse addressing the profound impact emergent technologies have in shaping art, our life, our culture and communities.

Hybrid Studio Critique

Fall

MPFV287 Making Meaning: Video Portraiture & Identity 3cr

This course introduces students to creative tools for video portraiture with an emphasis on identity exploration. Class demonstrations and hands-on class assignments provide students with exposure to video production and projection; retro, surveillance and 360 video cameras; and live streaming. In-class screenings foreground moving image portraiture addressing gender, race, sexualities and socioeconomic status.

Hybrid Studio Critique

Fall

MPFV300 Advanced Sound Technique and Design 3 cr.

This course will offer an in depth look at the use of recorded sound within the context of moving image production. Live sound and expanded cinema experiments will also be encouraged. Time each week will be allocated to technical demonstrations of studio equipment (including various workshops exploring Pro-Tools and Digital Performer audio software), recording and mixing experiments, and discussions on the many aesthetic and conceptual frameworks of cinematic sound. Examples from the history of cinematic sound will be screened on a weekly basis

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throughout the semester. In addition to weekly course meetings, students will be expected to meet certain scheduled benchmarks in the production of their projects.[Formerly Titled: Sound Design for Film]

Prerequisites: MPFV245

Hybrid Studio/Critique

Departmental Elective

MPFV308 Cinematography and Lighting 3 cr.

This course deepens the student's understanding of cinematography and introduces the student to studio lighting. In this course, students explore how cinematography serves directorial and creative intent, while being liberated to explore its own visual language. Technical and aesthetic concerns are given equal weight.

Prerequisites: MPFV211 or by permission of the instructor

Hybrid Studio/Critique

Departmental Elective

MPFV309 Advanced Creative Lighting 3cr

This class explores the art and craft of lighting and cinematography to enhance further experimentation in the creation of the image. Students learn lighting for a specific film genre, including documentary, experimental, and narrative. In addition students will learn various techniques for metaphorical lighting, FX lighting, stage and realism vs pictorial lighting. Technical and aesthetic concerns are given equal weight. The class will cover the proper use, handling, and care of cameras, lenses, tripods, filters, and lights.[Formerly titled Cinematography&Lighting II]

Prerequisites: MPFV-308

Hybrid Studio Critique

Spring

MPFV312 Junior Major Production 3 cr.

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This class is a spring semester requirement for junior Film/Video majors. In this course, students develop and refine their creative voices, with freedom to work in any time-based format to produce three completed pieces. Students creatively demonstrate both technical focus and conceptual rigor in their completed works.

Prerequisites: MPFV321 or MPFV323

Hybrid Studio/Critique

Departmental Requirement Spring

MPFV314 Advanced Editing 3 cr.

This course assumes that students come to it with technical skill at Avid and other non-linear editing systems and moves instead into conceptual and aesthetic aspects of motion-picture editing, examining how an editor creates a sense of time, space, tone, and rhythm. We look at both short-form and long-form work in the documentary, fiction, and experimental traditions. Sound/image relationships, including continuity and discontinuity, and non-traditional approaches are all examined through short editing assignments. In addition, there is time for critique of your own works-in-progress, as well as a term-long group assignment to edit a documentary feature out of materials provided by the instructor.

Prerequisites: MPFV220 or by permission of instructor

Hybrid Studio/Critique

Departmental Elective

MPFV314 Advanced Editing 3cr.

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Fall and Spring

MPFV317 Finishing Touches 3cr

Finishing Touches is a course in which students analyze and practice digital film finishing strategies, techniques, and workflows including audio mixing, color correction and video effects.

Emphasis is placed on how these technical and aesthetic decisions impact how the audience feels and connects to the piece. Students are asked to bring projects to work with throughout the semester.

Prerequisites: MPFV-221 or Permission of the Instructor

Hybrid Studio Critique

Instructor's Discretion

MPFV321 Short and Fast: From Idea to Critique 3 cr.

This course is one of two options to fulfill the fall Film/Video junior production requirement. It concentrates on the production of short, finished work each week for substantial in-class critique. The content of the work produced for the class divides evenly between individual student preference and predetermined topics formulated to complement class screenings, readings and discussions. Methods for rapidly generating completed works are examined and a wide variety of critique strategies are employed.

Prerequisites: MPFV211 and MPFV221

Hybrid Studio/Critique

Departmental Requirement

MPFV322 Junior Major Viewing 1 3 cr.

This class is the first installment of a two-semester required course introducing film/video theory and criticism. The class explores film and video informed by changing media practice and by art. Screenings encompass installation and performance as well as single channel work. Both historical and contemporary work is presented. All work shown is considered in relation to semiotics, psychoanalysis,

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feminism, race, documentary practice, identity issues, and representation.

Prerequisites: MPFV211 and MPFV221

Critique

Departmental Requirement Fall

MPFV323 Experiments in Film Narrative 3 cr.

This course is an intensive film and video production class for the junior film students to find and realize their own personal voices through moving image. Students explore traditional narrative frameworks such as character, conflict, script structure, and narrative voice. Students expand upon these frameworks and push the boundaries of conventional film narrative. The class touches upon all stages of preproduction, including production design, storyboards, shot design, script breakdown, preparing the shot list, casting, location scouting, and production scheduling. Classes include technical workshops, in depth analysis, viewing and critique. Students direct their own scripts and work in crews to produce each other's films.

Prerequisites: MPFV211 and MPFV221

Hybrid Studio/Critique

Departmental Requirement

MPFV325 Junior Major Viewing II 3 cr.

This class is the second installment of a two-semester required course introducing film/video theory and criticism. In the second semester, the class continues to explore film and video informed by media and by art. In addition to this content, the second semester explores contemporary issues in new media. The class examines how new media employs cinematic conventions while breaking the traditional role of the spectator in the viewing experience.

Prerequisites: MPFV322

Critique

Departmental Requirement Spring

MPFV326 Autobiographical Screenwriting: Working With Your Life Story 3cr

This screenwriting workshop examines ways to use and explore autobiography as the basis for a short script. Students create works that are autobiographical or autobiography-inspired, working in a range of genres and formats, from narrative (i.e. autobiography-based fiction) to film-essay, video art, and hybrid

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forms. Throughout the semester we view work by filmmakers and video artists who draw from their life story in different ways. There will be readings, critical and creative short writing assignments, and a final script/project. Prerequisite: Script 1 (in FV or LA) or equivalent experience and permission of instructor.

Prerequisites: MPFV-235 or LALW-338

Seminar

Fall

MPFV327 The Business of Film/Video 3cr

How does an art student become a professional artist and still survive in the world of freelancing? This course covers a range of strategies for students to build their public profile and portfolio while developing a sustainable plan to survive as an artist after school. Topics include: creating project proposals and professional portfolios; developing budgets; funding through grants and crowd sourcing; internships and learning to write and speak effectively about their work to film producers, film financiers, museum curators, and art dealers. Visiting speakers include local curators, festival directors, critics, and exhibition professionals. This course will also cover the ever elusive production management of any project from film, to live events and shows, to art exhibition and media installations in out of the box venues and locations. Travel into the City of Boston on assignment and field trips while learning. After taking this course, students should have all the necessary skills to present their work in the professional arena. While the course focuses on moving image work, students working in any medium are encouraged to register.

Hybrid Studio Critique

Undergraduate Elective Fall

MPFV336 Scriptwriting II 3 cr.

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Scriptwriting II builds on the skills learned in Scriptwriting I and asks students to push further. You may write in the format and genre/mode of your choice: narrative, experimental-narrative, web series, non-fiction/essay, video installation, etc. You will develop your scripts through writing exercises and revisions as well as by hearing them read aloud and critiqued. All majors welcome.

Prerequisites: MPFV235 or by permission of instructor

Hybrid Studio/Critique

Departmental Elective

MPFV392 Film/Video Course Assistantship 3 cr.

A course assistantship allows qualified sophomores, juniors, and seniors to assist a faculty member with whom they have studied previously. Duties may include set up, assisting with demonstrations and critiques during class meetings. Course assistants may not grade students. Students may register for only one 3-credit course assistantship each semester, and no more than two such assistantships may count toward degree requirements. Students selected by faculty to be course assistants submit a Course Assistantship form with the faculty and chair's signatures to the Registrar during registration and no later than the end of the Add/Drop period. Students who are performing a Teaching Assistantship should follow Independent Study procedures

Prerequisites: By Permission of Instructor

Fall/Spring

MPFV398 Film/Video Internship

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for credit. An internship counts as 3 studio elective credits. To receive credit, the internship must meet our basic internship requirements, be approved by a faculty advisor, and registered before you start the internship.

Prerequisites: By Permission of Instructor

Fall/Spring

MPFV399 Film/Video Independent Study

Prerequisites: By Permission of Instructor

Fall/Spring

MPFV402 Contemporary Issues in Film/Video 1 3 cr.

This survey class views film and video works by contemporary artists and media makers, in the context of historical works. Students meet with the film and video artists presenting work at MassArt Film Society as well as the instructor for discussions of the work shown. Attendance is mandatory.

Prerequisites: MPFV325 or by permission of instructor

Critique

Departmental Elective Fall

MPFV403 Contemporary Issues in Film/Video II 3 cr.

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This survey class views film and video by contemporary artists and media makers together with occasional older works. Emergent and established artists will visit to present and discuss their work at MassArt Cine-Culture (formerly MassArt Film Society). Among the issues to be discussed related to contemporary moving image discourse and production are: narrative/form, fiction/non-fiction, independent production and exhibition, and the social/political relevance of film as an art. This is the second installment of a year-long course that is a Senior requirement for all Film/Video Majors.

Prerequisites: MPFV402 or by permission of instructor

Critique

Departmental Requirement Spring

MPFV410 Senior Thesis Studio I 3 cr.

This fall course is designed to facilitate the production of each student's thesis project. Projects consist of at least one fifteen-minute film/video or five three-minute films/videos to be done by the end of the semester. Students may propose equivalent work in sound, installation or live performance and media work. Individual meetings are held every other week for critique. Group meetings take place twice a semester for class critique. There is a variety of tech workshops and visiting artists who look at students' work. In addition to this 3-credit class seniors are required to take Issues in Contemporary Film/Video in order to familiarize them with aspects of film and video history. In this course see and hear filmmakers and artists talk about their own work.

Prerequisites: MPFV312, MPFV325

Hybrid Studio/Critique

Departmental Requirement Fall

MPFV411 Senior Thesis Studio II 3 cr.

This spring course is designed to facilitate the production of each student's thesis project. Projects will consist of at least one fifteen-minute film/video or five three-minute films/videos to be completed by the end of the semester. Students may propose equivalent work in sound, installation or live performance and media work. Individual meetings will be held every other week for critique. Group

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meetings will take place at least twice a semester for class critique. Senior review boards will be held in March for feedback on their thesis work-in-progress and to allow enough time for each student to tweak their projects by the end of the semester. Seniors are also required to take Issues in Contemporary Film and Video in order to familiarize them with aspects of film and video history. In this course they will see and hear filmmakers and artists talk about their own work.

Prerequisites: MPFV410

Hybrid Studio/Critique

Departmental Requirement Spring

Fine Arts 2D: Painting

2DPA100 Introduction to Painting 3 cr.

Form, space, and light are explored through the fundamental techniques of oil and acrylic painting. The core of this course is the practice and study of color and composition.

Hybrid Studio/Critique

All College Elective

2DPA103 Watercolor 3 cr.

Fundamental techniques of transparent watercolor media, such as wet on wet, drybrush, glazing, and knowledge of painting tools. Emphasis on color, vocabulary development, exploring composition, and the history of watercolor painting.

Hybrid Studio/Critique

All College Elective

2DPA201 Sophomore Drawing 3cr.

This sophomore drawing class is aimed to develop the perceptual, observational, and experimental aspect of pictorial investigations. Through basic drawing language and material, students are encouraged to examine the formal aspects of space, light, and materiality within a pictoral structure. While focusing on the fundamental and formal language of drawing, students also develop the way of seeing and questioning the notion of what they see. Visiting artists and events are shared with junior and senior majors.

Undergraduate Elective Fall/Spring

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2DPA202 Life Drawing 3 cr.

This course allows for more advanced study of the human figure from an observational perspective. Study takes place within the context of Life Drawing 102 and its emphasis on expression, pictorial space, form and light.

Prerequisites: SFDN-181 and SFDN-185

Hybrid Studio/Critique

All College Elective

2DPA205 Sophomore Painting 6 cr.

An exploration of fundamental painting issues and painting techniques in oils, acrylics, and mixed media. Students are encouraged to initiate individual projects to develop personal imagery. 6 credits.

Prerequisites: SFDN181, SFDN182

Double Hybrid Studio/Critique

All College Elective Fall

2DPA206 Sophomore Painting 6 cr.

Prerequisites: SFDN181, SFDN182

Double Hybrid Studio/Critique

All College Elective Spring

2DPA216 Digital Drawing 3cr.

Digital Drawing: Image Creation in the Information Age explores drawing through a digital lens, examining the use of digital tools in the creative process. We will experiment with digital tools already at our disposal (computers, social media, smartphones, cameras, printers, etc.) to work between concept and process while developing new work. We will draw directly on tablets and phones and use apps and software to manipulate, enhance, and troubleshoot aesthetic and conceptual concerns. We will toggle between virtual and tactile mediums and examine the use and look of digital tools in contemporary painting.

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Undergraduate Elective Spring Only

2DPA219 Cornelia: Representational Painting 3 cr.

Painting from direct perception. Study of form, light, and space utilizing the live model as a subject along with varying subject matter and painting materials.

Prerequisites: SFDN181, SFDN 182, SFDN185

Hybrid Studio/Critique

All College Elective

2DPA228 Color for Painting 3 cr.

Studies in water-based media of color harmonies and hue relationships, along with neutral or achromatic colors to develop an understanding of he subjective process of color perception and color relationships through practice with color theory and color mixing methods.

Hybrid Studio/Critique

All College Elective

2DPA250 100 Drawings 3 cr.

100 Drawings is a rigorous concentration on the process of drawing. Students are encouraged to experiment with techniques and materials that they may not have used before. Each student is expected to complete a minimum of 100 drawings during the semester. Students explore a wide range of subject matter as well as collage, color, scale, and mixed media. All students present a 100 drawing portfolio to the class at the end of the course.

Hybrid Studio/Critique

All College Elective

2DPA264 Collage/Assemblage 3 cr.

Drawing, painting, and sculpting using found objects, appropriated images, letterforms, texts, and personal memorabilia. Slide lectures and class discussions concern the history of collage and assemblage.

Hybrid Studio/Critique

All College Elective

2DPA270 Imaginative Drawing 3 cr.

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Non-traditional approaches to drawing, including working from dream imagery, inventing realities, exploring abstraction, creating new tools to draw with, and experimenting with mixed media.

Prerequisites: SFDN181

Hybrid Studio/Critique

All College Elective

2DPA290 Print Into Motion 3cr

This course functions as a laboratory to translate ideas from print to motion through integrated studio projects. The objective of this course is to navigate through the intersection of time with print as well as the relationship between a still and a moving image. Students explores elements of duration, seriality, sequentiality, and storytelling. Students utilizes printmaking techniques to create animation works, via optical devices and projections.

Hybrid Studio Critique

Spring

2DPA305 Junior Painting 6 cr.

Combined sections of juniors and seniors for the study and practice of painting in oils, acrylics, and mixed media. Juniors are expected to pursue the development of a personal direction in painting or mixed media. Seniors work on self-defined degree projects in painting and are expected to develop a command of both technical and conceptual means in painting. 6 credits.

Prerequisites: 2DPA205, 2DPA206

Double Hybrid Studio/Critique

Departmental Requirement Fall

2DPA306 Junior Painting 6 cr.

Prerequisites: 2DPA205, 2DPA206, 2DPA305

Double Hybrid Studio/Critique

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Departmental Requirement Spring

2DPA335 Drawing for Painting Majors 3 cr.

A drawing exploration of the relationships between methods of drawing and painting that is designed to develop a flexible dialogue between concept and process. Drawing both from observation and imagination.

Prerequisites: SFDN181, SFDN182, SFDN185

Hybrid Studio/Critique

Departmental Requirement Fall/Spring

2DPA392 FA Course Assistantship

2DPA398 FA Internship

2DPA399 FA Independent Study

2DPA405 Senior Painting 6 cr.

Prerequisites: 2DPA305, 2DPA306

Double Hybrid Studio/Critique

Departmental Requirement Fall

2DPA406 Senior Painting 6 cr.

Prerequisites: 2DPA305, 2DPA306, 2DPA405

Double Hybrid Studio/Critique

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Departmental Requirement Spring

2DPA428 Professional Practices 3cr.

Professional Practices provides tools, resources, and experience that will help students to continue making work outside of an institution. With this established as the most important aspect of being a professional artist, the seminar provides a body of practical information to support art making. The course is organized around a series of topics accompanied by workshops, discussions, informal presentations, readings, and field trips. Throughout the semester, students are granted the opportunity to meet and interview a range of art professionals, including curators and gallerists, graduate students, and other artists. By the end of the course, students compile professional materials -- CV, images, and artist statement. Topics covered include talking/writing about your work, studio space, studio visits, making/maintaining professional connections, documenting work, applications for grants/residencies/graduate school, online presence, jobs, finances, exhibiting your work, artist peers, collaboration, curating/pop-up shows, and more. [Formerly titled Senior Seminar]

Undergraduate Elective Fall and Spring

2DPA435 Drawing for Painting Majors 3 cr.

Prerequisites: 2DPM367, 2DPA335

Hybrid Studio/Critique

Departmental Requirement Fall

Fine Arts 2D: Printmaking

2DPM100 Introduction to Printmaking 3 cr.

An introduction to basic printmaking techniques, including monoprint, intaglio (etching), planographic, and relief printing, using an experimental and empirical approach to the graphic media. Emphasis is on investigating visual structures by means of the print process.

Hybrid Studio/Critique

All College Elective

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2DPM250 Artist Books 3 cr.

An examination of the unique book. Students have the opportunity to explore text and image in traditional and nontraditional approaches and formats. Projects focus on content, composition, paging sequence, format and materials. Students build their ideas using the processes and materials of painting, printmaking, sculpture, and mixed media.

Hybrid Studio/Critique

All College Elective

2DPM260 Beginning Etching 3 cr.

A presentation of basic intaglio skills: drypoint, hard and soft ground etching, and aquatint. Emphasis is on using the craft and the process of printmaking to explore the more familiar ideas of line, value, and form.

Hybrid Studio/Critique

Departmental Requirement, All College Elective Fall and Spring

2DPM264 Monoprint 3 cr.

An exploration of this direct and immediate form of printing that bridges the worlds of painting, drawing, and printing. Emphasis is on visual thinking and the development of imagery through a combination of process, observation, and imaginative drawing. The techniques of water-base and oil- base printing, including collage, collagraph, and multiple plate printing are demonstrated.

Hybrid Studio/Critique

All College Elective

2DPM265 Sophomore Printmaking I 3cr.

This sophomore major studio concentrates on the development of personal imagery through drawing and printmaking exercises. This course introduces the development of thematic and conceptual ideas in a broad historical context.

Prerequisites: Printmaking Majors Only

Fall Only

2DPM266 Sophomore Printmaking II 3 cr.

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This sophomore majors studio involves the refinement of basic processes; the introduction of new techniques; the development of individual imagery through drawing exercises; and researching other artists in the field. Working in series is stressed. Visiting artists and events are shared with junior and senior majors. [Formerly titled Sophomore Printmaking Major]

Prerequisites: three of the following four classes 2DPM260, 2DPM270, 2DPM280, or 2DPM281

Hybrid Studio/Critique

Departmental Requirement Spring

2DPM270 Beginning Lithography 3 cr.

An introduction to the drawing and printing of stone and metal plate lithography. The course emphasizes the development of visual ideas through the materials, tools, and chemistry of the lithographic process.

Prerequisites: SFDN181

Hybrid Studio/Critique

Fall and Spring

2DPM271 Relief Printing 3 cr.

An introduction to relief printmaking, employing woodcut and other related processes. Students build imagery using conventional and unconventional approaches.

Hybrid Studio/Critique

All College Elective

2DPM280 Beginning Silkscreen 3 cr.

An introduction to various processes in screen printing. Study of color, design, and drawing using techniques from handcut through photographic or digital stencil making.

Hybrid Studio/Critique

Departmental Requirement, All College Elective Fall and Spring

2DPM281 Contemporary Printmaking 3 cr.

This course explores the role of printmaking within the discourse of contemporary art and culture. It serves as an introduction to the latest printmaking technology, including that of digital and photo

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sensitive plates, as well as non-toxic printmaking techniques. The course is divided between screenprinting, lithography, and intaglio and incorporates digital-imaging and color separation.

Hybrid Studio/Critique

Departmental Requirement, All College Elective Spring

2DPM305 Junior Printmaking Major 6 cr.

Combined studio of junior and senior printmakers. Students analyze the use of printmaking within a personal body of work. This exploration of mixed-media techniques stresses the metamorphic and serial potential inherent in printmaking. 6 credits.

Prerequisites: 2DPM266

Double Hybrid Studio/Critique

Departmental Requirement Fall

2DPM306 Junior Printmaking Major 6 cr.

Prerequisites: 2DPM266, 2DPM305

Double Hybrid Studio/Critique

Departmental Requirement Spring

2DPM309 Papermaking for Imagemakers:Print, Paint, Photo, and Word 3cr

Students learn traditional techniques and contemporary methods of working with handmade paper. Topics include: pulp preparation, 2-D sheet forming and controlled drying, 3-D construction methods of vacuum forming, casting with printed imagery, and pulp spraying on canvas. Students develop visual vocabulary while learning to create surface imaging through painting with pigmented overbeaten pulps and constructing with interior collaged laminations. Students can produce custom stock for editions, shape deckles, make watermarks and stenciled "blowouts". We will work with both Western and Eastern fibers as well as local plant fibers and customized recycled pulp. This class is open to all levels of motivated students interested in working in the non-toxic, well equipped Mass Art

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papermaking studio.

Hybrid Studio Critique

Spring

2DPM367 Drawing to Print 3 cr.

Concurrent projects in drawing and printmaking to address the dialogue between concept and process. Students explore a variety of techniques. Students follow work from observation, imagination, and the influences of process as means of discovery and image-building.

Prerequisites: SFDN181, SFDN185

Hybrid Studio/Critique

Departmental Required, All College Elective Fall and Spring

2DPM380 Intermediate Silkscreen 3 cr.

Further exploration of various processes in screen printing. Study of color, design, and drawing using techniques from handcut through photographic stencil-making.

Prerequisites: 2DPM280

Hybrid Studio/Critique

All College Elective

2DPM392 PM Course Assistantship

2DPM398 PM Internship

2DPM399 PM Independent Study

2DPM405 Senior Printmaking Major 6 cr.

Prerequisites: 2DPM305, 2DPM306

Double Hybrid Studio/Critique

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Departmental Requirement Fall

2DPM406 Senior Printmaking Major 6 cr.

Prerequisites: 2DPM305, 2DPM306, 2DPM405

Double Hybrid Studio/Critique

Departmental Requirement Spring

3DFB218 Material Color 3cr

This course uses fiber-based techniques to study how color is created and changed. Dyeing yarn and fabric, then weaving and piecing those dyed materials, allows color to be studied in its psychological, cultural, phenomenological, and environmental aspects. Lectures and visiting artists provide examples of sustained inquiry into the subject.

Hybrid Studio Critique

Fall and Spring

Fine Arts 3D: Ceramics

3DCR202 Ceramic Handbuilding 3 cr.

A studio elective course, introduces students to ideas and methods used in the contemporary field of ceramic object-making. Projects are designed to have students consider clay for both its fine art and design potential. Projects use a variety of tools including the slab roller, extruder and plaster molds, as well as traditional methods of building and throwing on the potter's wheel and address idea development. Projects also address color and surface and their relationships to forms. Students will choose methods of finishing work in gas or electric kilns, using a combination of studio and commercial glazes.

Hybrid Studio/Critique

Fall

3DCR203 Wheelworking 3 cr.

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An introduction to the potter's wheel as a tool for clay form-making. Projects explore various techniques, development of skill and experimentation with functional and nonfunctional formats. Slip/glaze applications include both high and low-fire techniques with gas and electric kilns.

Hybrid Studio/Critique

Departmental Required/Elective Spring

3DCR205 Ceramic Design Studio 3 cr.

Ceramics has always been a desirable medium for artists' and designers' use because of its ability to be transformed in many ways. The premise of this course is to look at ceramics from the design point of view, whether it functional, decorative or sculptural. The goal will be to create three objects that are well-designed and planned out. The ceramic process used to create work will be up to each student - wheel thrown, molded or handbuilt, for example. The course also looks at the history of ceramic design and the work of contemporary designers.

Hybrid Studio/Critique

3DCR205 Ceramic Design Studio Processes 3 cr.

This course is focused on translating design concepts into finished ceramic objects. An emphasis on drawing and model making will be used as the basis for projects that use a variety of handbuilding, mold-making, casting, and finishing techniques. Previous experience in ceramics recommended but not required.

Hybrid Studio/Critique

3DCR208 Objects That Change Lives 3 cr.

See 3DTD208.

Hybrid Studio/Critique

3DCR209 Intro to Clay Studio 3 cr.

This course introduces a variety of concepts and techniques used in contemporary ceramic object- making. Projects include ideas and skills used in both sculpture and design around the world today. This course includes slide lectures and field trips to introduce students to artists, designers and careers in the field of ceramics today. Through assigned projects students develop ideas and learn new skills-- building, finishing and firing ceramic objects. This course is open to both students with previous experience and no experience.

Hybrid Studio/Critique

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3DCR213 Drawing in and on Clay 3cr.

Drawing in and on Clay focuses on drawing as a tool for both two and three dimensionalrepresentation. Classes will be taught in the Ceramic Studios where emphasis is placed on observation, experimentation, and technical exploration along with personal expression. Employing various tools and techniques, students explore the relationships of drawing on paper and clay. Students are given the opportunity to expand their drawing experience into other mediums and dimensions.The ceramic medium challenges artists and designers to draw in space, to marry ideas in surface, color and form. Projects include working with drawing as tool for addressing issues in object making, as well as exploring drawing in clay as finished artwork. Work focuses on the sensorial, the formal and the expressive proprieties of mark making in clay, which is a wonderfully direct and reactive medium. Eye hand synchronic and emotional responds will be used not only to record objects or events, but make visible the world of our imagination. Students explore the ceramic process from surface and form building through to firing work in electric and gas kilns.

Undergraduate Elective Spring

3DCR225 Image and Clay 3 cr.

Ceramics is a field that marries form-making, surface finish, concept, image and technique. Ideas can be applied to both fine art and design objects. Image and Clay is a studio elective designed to introduce students to ideas, artists/designers and techniques which bring surface imagery to clay object-making. Projects include digital manipulation of imagery, silkscreening, decal making, and transfer printing. This course is appropriate for both artists and designers.

Hybrid Studio/Critique

3DCR226 Tableware 3 cr.

Design and fabricate individualized place settings, serving dishes, teapots, and vases. Employing handbuilding, the potter's wheel, plaster molds, and various kiln-firing techniques (stoneware, soda, low-fire) students are able to create pottery that is useful as well as personally expressive. Frequent

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demonstrations, lectures, and dialogue with the instructor enable beginners as well as experienced workers to expand their vision and portfolio.

Hybrid Studio/Critique

3DCR300 3D Seminar: Ceramics 3 cr.

A forum for discussion of current contemporary art-making issues in the medium of clay. Students research the topics and artists important to their own development. Visiting artists, slide lectures, studio visits and exhibitions are incorporated. With faculty assistance; students define and develop two bodies of work for each semester. This work must explore different technical areas of clay object-making and firing. An active journal with source material related to the student's work is required, as are mid- semester critiques and final semester review boards.

Hybrid Studio/Critique

Departmental Requirement Fall

3DCR301 3D Seminar: Ceramics 3 cr.

Lecture/Seminar

Departmental Requirement Spring

3DCR308 Multiples, Sets and Editions 3 cr.

This course investigates the production of ceramic objects that are developed within a series format. Projects include unique pieces that are part of a related series and limited editions of identical objects. Ideas explored include architectural relief tiles, tableware, and various sculptural formats. Mold-making and ceramic casting processes are incorporated with various low and high-fire glaze options.

Prerequisites: any 200 level ceramic elective or permission

Hybrid Studio/Critique

3DCR309 Tiles, Reliefs & Mosaics 3 cr.

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Production and use of tiles, mosaics and reliefs. This course explores historical and contemporary uses of clay in architecture and object-making. Projects include design consideration, fabrication methods including mold and die processes and installation techniques. This course is appropriate for both fine artists and designers.

Prerequisites: 3DCR203

Hybrid Studio/Critique

All College Elective

3DCR310 Ceramic Chemistry 3 cr.

Ceramic Chemistry offers students the opportunity to gain familiarity with clays, surfaces, and kilns. Weekly assignments, independent projects and two exams provide students with the exposure necessary to gain basic and personalized knowledge of ceramic materials and processes.

Hybrid Studio/Critique

3DCR311 Surreal Clay: Explorations 3 cr.

A ceramic studio elective course gives students the opportunity and skills to develop work which is narrative in nature. Whether creating designed functional objects or abstract sculpture, the focus on this course is create objects which are outside of the everyday realm. Content of ideas may stretch from current events to personal experiences. Projects may incorporate a number of building and finishing techniques. Finished work may be funny, outrageous, provocative or physiologically engaging.

Prerequisites: One 200 or 300 level 3DCR class.

Hybrid Studio/Critique

3DCR313 Clay Studio 3 cr.

This course introduces a variety of concepts and techniques used in contemporary ceramic object-making. Demonstrations and studio activities include hand building, mold making and wheel working. Each student researches and designs a series of pieces which reflect their personal interests. Projects may include work in tableware, sculpture, or designed objects. This course is open to both students with previous experience and no experience.

Hybrid Studio/Critique

3DCR350 Adv.Studio: Ceramics 3 cr.

Assists students in developing a focused coherent body of work through several research projects, exposure to artists and concepts, and the coordination of personal sources, intent and ceramic technique.

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Prerequisites: 6 credits in Ceramic Studios

Hybrid Studio/Critique

Departmental Requirement Fall

3DCR351 Adv.Studio: Ceramics 3 cr.

This course nurtures the development of a coherent body of work based on sophisticated techniques and a maturing sense of aesthetic direction. The course stresses the importance of drawing, model making, and journals to the creative process. Through assigned projects and workshops, students work with faculty to develop a personal body of work that represents depth and breadth of exploration of the ceramics medium. Group and individual discussions emphasize the development of critical vocabulary along with advanced technical exploration.

Prerequisites: 6 credits in Ceramic Studios

Hybrid Studio/Critique

Departmental Requirement Fall/Spring

3DCR392 CER Course Assistantship

3DCR398 CER Internship

3DCR399 CER Independent Study

3DCR401 3D Seminar: Ceramics 3 cr.

A forum for discussion of current contemporary art making issues in the medium of clay. Students research the topics and artists important to their own development. Visiting artists, slide lectures, studio visits and exhibitions are incorporated. With faculty assistance, students define and develop two bodies of work for each semester. This work must explore different technical areas of clay object-making and firing. An active journal with source material related to the student's work is required, as are mid- semester critiques and final semester review boards.

Hybrid Studio/Critique

Departmental Requirement Spring

3DCR450 Adv.Studio: Ceramics 3 cr.

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This course assists Students in developing a focused coherent body of work through several research projects, exposure to artists and concepts, and the coordination of personal sources, intent and ceramic technique,

Prerequisites: 3DCR350, 3DCR351

Hybrid Studio/Critique

Departmental Requirement Fall

3DCR451 Adv.Studio: Ceramics 3 cr.

Prerequisites: 3DCR450

Hybrid Studio/Critique

Departmental Requirement Spring

Fine Arts 3D: Fibers

3DFB101 Vietnam -- Art and Culture

This course is designed to give students exposure to Vietnamese culture, art and history. MassArt has a unique opportunity to explore this wonderful country with the support of the Indochina Arts Partnership. Prior to the trip, students will be given a brief overview of Vietnamese history and its cultural influences, focusing on Chinese, French (Beaux Arts) and Soviet (Socialist) influences. The group will travel to Ho Chi Minh City, Da Nang, Imperial City of Hue, and Hanoi. Students will have the opportunity to visit galleries and museums, ancient pagodas and villages famous for ceramics, silk weaving and papermaking, local art colleges and many artists' studios. SEE TRAVEL COURSE SECTION FOR OFFICIAL REGISTRATION PROCEDURES. TRAVEL TO VIETNAM REQUIRED.

3DFB221 Flexible Structures 3 cr.

An exploration of traditional and non-traditional methods of form-making using a variety of flexible, soft, or fibrous materials. Projects explore both technical and conceptual possibilities. Students investigate materials for their potential as sculptural, architectural, functional objects and as mixed- media installations and site-specific environments.

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Hybrid Studio/Critique

All College Elective

3DFB222 Intro to Weaving 3 cr.

An introduction to principles and techniques of floor loom weaving: including warp preparation, dressing the loom, pattern drafting, basic loom controlled and weaver controlled weaves. Slide presentations emphasize a personal approach to the media.

Hybrid Studio/Critique

All College Elective

3DFB223 Surface Design on Fabric: Resist 3 cr.

An introduction to fabric dyes and procedures and to resist processes. Japanese, African, and Indonesian techniques for tie-dye, batik, paste resists, and hand painting on fabric are studied. Emphasis is on development of personal expression as well as technical proficiency. Workshops, slide presentation, and a visiting artists lecture are included.

Hybrid Studio/Critique

3DFB224 Paper Making 3 cr.

This course is an introduction to traditional and experimental methods of hand papermaking, with an emphasis on papermaking as an expressive art medium. Projects explore 2D and 3D concepts and techniques, including sheet forming and casting. Emphasis is on personal expression and technical proficiency.

Hybrid Studio/Critique

All College Elective

3DFB226 Surface Design: Print 3 cr.

An introduction to various methods of screen printing on fabric with dyes and pigments. Projects incorporate photographic and cut stencil techniques used in one of kind imagery and repeat pattern surfaces. Emphasis is on personal expression and technical experimentation.

Hybrid Studio/Critique

All College Elective

3DFB227 Intro to Fibers 3 cr.

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Intro to Fibers is a class that introduces a mix of traditional and contemporary fiber techniques that may include a combination of sewing, knitting, crocheting, weaving, dyeing, and surface design using traditional and non-traditional materials.

Hybrid Studio/Critique

All College Elective

3DFB228 Photo Imagery on Fabric 3 cr.

Students will return to the origins of photography by hand coating fabric and paper with the light sensitive emulsions. Additional techniques may include Polaroid transfers, acrylic lifts, and heat transfers. Resultant images can be incorporated into quilts, clothing, artists books, collage/assemblage and can be combined with other techniques and processes applicable to paper and fabric.

Hybrid Studio/Critique

All College Elective

3DFB229 Sculptural Knitting 3 cr.

This course is for students interested in exploring the ways that knitting can be used as a medium for sculpture and installation. This class will explore different techniques of creating form: knitting in the round, sewing, using alternative materials, felting, found objects, knitting on looms and by machine. The course looks at artists using knitting and related techniques and will examine contemporary issues related to the variety of approaches.

Studio

All College Elective

3DFB300 3D Seminar: Fibers 3 cr.

A forum for discussion of current contemporary art-making issues in fiber mediums. Students research the topics and artists important to their own development. Visiting artists, slide lectures, studio visits and exhibitions are incorporated. Students define and develop a personal body of work. An active journal with source material related to this work is required, as are mid-semester critiques and final semester review boards.

Lecture/Seminar

Departmental Requirement Fall

3DFB301 3D Seminar: Fibers 3 cr.

174

Prerequisites: 3DFB300

Lecture/Seminar

Departmental Requirement Spring

3DFB302 Special Topics in Fiber 3cr

This course responds to emergent issues or opportunities within the field of Fibers and its associated discourses, with specialized content not otherwise offered as part of the core fiber curriculum. The class typically combines studio work with a significant research and writing component, and may include field trips, community engagement, or collaboration with outside institutions.

Hybrid studio Critique

Fall and Spring

3DFB302 Special Topics in Fiber 3cr

Hybrid Studio Critique

Fall and Spring

3DFB322 Intermediate Weaving 3 cr.

An exploration of more complex weaving techniques, including computer-aided drafting, multiple harness, 3D weaves, and ikat. Projects emphasize contemporary uses of woven imagery and forms along with personal expression.

Prerequisites: 3DFB222

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Hybrid Studio/Critique

All College Elective

3DFB324 Advanced Papermaking 3cr.

THIS COURSE OFFERS STUDENTS WHO HAVE A BASIC UNDERSTANDING OF THE PAPERMAKING PROCESS, THE OPPORTUNITY TO EXPAND AND REFINE TECHNICAL SKILLS AND AESTHETIC CONCEPTS IN TWO AND THREE DIMENSIONAL APPROACHES TO HANDMADE PAPER. ADVANCED TECHNIQUES ARE EXPLORED THROUGH WORKSHOPS/DEMONSTRATIONS, BUT MAJOR EMPHASIS IS PLACED ON THE DEVELOPMENT OF A PERSONAL BODY OF WORK. SLIDE PRESENTATIONS, VISITING ARTISTS, AND A FIELD TRIP ARE INCLUDED IN THIS COURSE

Prerequisites: 3DFB224

Spring

3DFB350 Adv. Studio: Fibers 3 cr.

Through assigned projects and workshops, students work with faculty to develop a personal body of work that represents depth and breadth of exploration of the fiber medium. Group and individual discussions emphasize the development of critical vocabulary along with advanced technical exploration.

Hybrid Studio/Critique

Departmental Requirement Fall

3DFB351 Adv. Studio: Fibers 3 cr.

Prerequisites: 3DFB350

Hybrid Studio/Critique

Departmental Requirement Spring

3DFB392 FIB Course Assistantship

3DFB398 FIB Internship

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3DFB399 FIB Independent Study

3DFB401 3D Seminar: Fibers 3 cr.

Prerequisites: 3DFB300, 3DFB301, 3DFB400

Lecture/Seminar

Departmental Requirement Spring

3DFB422 Advanced Weaving 3 cr.

Prerequisites: 3DFB322

Hybrid Studio/Critique

Departmental Elective

3DFB450 Advanced Fibers Studio 3 cr.

Development of a coherent body of work through coordination of the student's personal sources, intent and technical abilities. Group and individual discussions emphasize the development of critical vocabulary along with advanced technical exploration. A research component complements the studio work to further develop the student's knowledge of historical and contemporary fiber art.

Hybrid Studio/Critique

Departmental Requirement Fall

3DFB451 Advanced Fibers Studio 3 cr.

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work to further develop the student's knowledge of historical and contemporary fiber art.

Hybrid Studio/Critique

Departmental Requirement Spring

Fine Arts 3D: Glass

3DGL101 Introduction To Glass: A Survey 3 cr.

This is a studio foundation course that is meant to both acquaint students with the glass studio and to teach a survey of the techniques that are required for glass fabrication. Areas of focus will include: glassblowing, kiln casting, fused glass, sand casting and a general cold glass overview. Studio time will include lectures covering a survey of glass art history and visits with local glass artists.

Studio

All College Elective

3DGL104 Designing in the Glass Studio:An Exploration of Form, Lighting,Production Design and Sculptural Glass 3cr

"Designing in the Glass Studio" is a comprehensive exploration of the use of glass in the world of product design, architecture and fine art. Students will learn how to develop a design from conception to finished product and will be involved at every stage of fabrication. Drafting, model-making and prototyping will be the tools we use to navigate our designs from initial concept to finished product. The technical aspects of the course will cover chandelier design, mold making for multiples, color and texture application, rigging, installation, custom fabrication and how to develop a product line. Students will also learn client relation skills, contract negotiation, advertising development, product branding and marketing skills. This course is perfect for students with a drafting or design background that are interested in experimenting with glass and pursuing practical applications for their designs. This course is designed both for intermediate

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glassblowers and students with no prior glass experience.

Hybrid Studio Critique

Spring

3DGL105 Flexible Systems in Glass Using the Language of Fibers 3cr

Glass Textiles explores flexible and tensile systems in glass using the language of fibers. The class is organized as an inter-disciplinary think tank, working collaboratively in small teams, to innovate, troubleshoot and resolve material-based experimentation. Questions include * what / how is a glass thread? * what do fiber substrates and tensile joinery make possible? * why / how to create responsive behavior through a flexible, particulate system?

Hybrid Studio Critique

Spring

3DGL202 Optics in Glass 3cr

Optics in Glass explores a range of optical phenomena through the materiality of glass, such as reflection, refraction, interference, transmission and projection. By investigating materiality and phenomenology of glass, students learn to record / embed action in material and create optical devices as well as ephemeral experiences.

Hybrid Studio Critique

Fall

3DGL231 Glassblowing 3 cr.

An introduction to basic glassblowing techniques used to make vessels and sculptural forms. Group glassblowing clinics encourage team work. Progressively more difficult assignments develop skill and concepts. Historical and contemporary glass techniques, designs, and applications are discussed and incorporated into student work.

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Hybrid Studio/Critique

Fall

3DGL232 Cold Glass Techniques 3 cr.

An introduction to techniques, tools, and equipment used in fabricating and assembling glass objects. Topics include equipment and technical information used to cut, grind, polish, drill and sandblast glass. Proper use and maintenance of all equipment is stressed. Historical and contemporary glass techniques, designs, and applications are discussed and incorporated into student work. Emphasis is on personal expression and technical proficiency.

Hybrid Studio/Critique

Spring

3DGL233 Sculptural Glass 3 cr.

This course emphasizes individual expression and experimentation with glass as a sculptural medium. This class instructs students in various kiln-related casting, slumping and fusing techniques. Proper use and safety with shop equipment is emphasized.

Hybrid Studio/Critique

3DGL234 Hot Glass Casting 3 cr.

An introduction to technical information used in the process of casting molten glass. Topics include various mold-making and mixed-media applications. Proper use and maintenance of all equipment is stressed. Historical and contemporary glass techniques, designs, and applications are discussed and incorporated into student work. Projects emphasize personal expression and experimentation, and technical proficiency.

Hybrid Studio/Critique

3DGL300 3D Seminar: Glass 3 cr.

A forum for discussion of current issues in contemporary glass object-making. Students research the topics and artists important to their own development. Visiting artists, slide lectures, studio visits and exhibitions are incorporated. Students work with faculty to develop a personal body of work that represents depth and breadth of exploration of the medium. Mid-semester critiques and final semester review boards required. Before graduation, students are required to document their work and submit 10-20 slides of their final projects to the FA3D Department.

Lecture/Seminar

Fall

180

3DGL301 3D Seminar: Glass 3 cr.

Lecture/Seminar

Spring

3DGL321 Intermediate Glassblowing 3 cr.

A continuation of basic and more advanced glassblowing techniques used to make vessels and sculptural forms. Progressively more difficult assignments develop skills and concepts. Historical and contemporary glass techniques are discussed and incorporated into student work.

Prerequisites: 3DGL231

Hybrid Studio/Critique

3DGL334 Advanced Glassblowing 3 cr.

Challenging design and technical possibilities in functional and sculptural formats. Students incorporate advanced techniques into specific projects. Historical and contemporary glass techniques, designs, and applications are discussed and incorporated into student work. Projects emphasize personal expression and experimentation, and technical proficiency.

Hybrid Studio/Critique

Departmental Requirement

3DGL350 Adv.Studio: Glass 3 cr.

Nurtures the development of a coherent body of work based on sophisticated techniques and a maturing sense of aesthetic direction. The course stresses the importance of drawing, models, and journals to the creative process. Through assigned projects and workshops, students work with faculty to develop a personal body of work that represents depth and breadth of exploration of the glass medium. Group and individual discussions emphasize the development of critical vocabulary along with advanced technical exploration. 6 credits (two semesters).

Hybrid Studio/Critique

Fall

181

3DGL351 Adv.Studio: Glass 3 cr.

Hybrid Studio/Critique

Spring

3DGL401 3D Seminar: Glass 3 cr.

Lecture/Seminar

Spring

3DGL450 Adv.Studio: Glass 3 cr.

Hybrid Studio/Critique

Fall

3DGL451 Adv.Studio: Glass 3 cr.

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advanced technical exploration. 6 credits (two semesters)

Hybrid Studio/Critique

Spring

Fine Arts 3D: Jewelry and Metalsmithing

3DML200 Jewelry 3 cr.

An introduction to basic issues and techniques unique to jewelry as a creative and expressive medium. Students discuss traditional and contemporary attitudes toward body adornment and learn the techniques of basic fabrication (cold-joining, sawing, soldering, finishing), lost-wax casting, and stone- setting. Projects use precious metals and common materials. Proper use and maintenance of all equipment is stressed.

Hybrid Studio/Critique

3DML208 Casting Intensive for Jewelers 3cr.

With the eyes and hands of a jeweler this course investigates various casting techniques. The class incorporates both ancient methods and contemporary practices of casting multiples with non-ferrous metals including bronze, silver and gold. Students are required to create specific samples and finished pieces that use the techniques taught. Students are also required to research examples of cast jewelry found in many diverse cultures as they develop their own ideas through non-jewelry research and observation. Safety practices are incorporated and practiced throughout the course. Importance is placed on wearibilty, craftsmanship, respect for safety and idea development. This course is open to all levels.

Prerequisites: Take 3DML-200, or 3DML-210, or 3DML-229

Undergraduate Elective Fall Only

3DML210 Beginning Metal 3 cr.

An introduction to basic metalworking techniques, focusing on design and function. Assignments cover problems that are both aesthetic and technical. Metal fabrication, inlay, forging, sinking, and stone- setting are introduced. Proper use and maintenance of all equipment is stressed.

Hybrid Studio/Critique

Fall

3DML213 Fiber Techniques & Metals 3cr.

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Fiber techniques in metal such as crocheting, knitting and weaving as well as fiber-based techniques of sewing and felting will be introduced and applied to three-dimensional jewelry and object making. Focusing on historical and contemporary uses of fiber techniques in metal, this course will explore relationships between metal and fiber through a series of independent projects.

Undergraduate Elective Spring Only

3DML220 Intermediate Metals 3 cr.

Study in Series: development of a personal style through a series of projects based on one source. Projects include technical and aesthetic experimentation in casting, raising (sheet form-making), etching, and chasing and repousse.

Prerequisites: 3DML210

Hybrid Studio/Critique

Spring

3DML230 Color and Metal 3 cr.

An examination of the color palette available for metals. Projects include enameling, patination, alloy- making, and painting. Proper use and maintenance of all equipment is stressed.

Hybrid Studio/Critique

3DML300 3D Seminar: Metals

A forum for discussion of current contemporary art making issues in the medium of metal. Students research the topics and artists important to their own development. Visiting artists, slide lectures, studio visits, and exhibitions are incorporated. With faculty assistance, students define and develop a personal body of work. An active journal with source material related to this work is required, as are mid-semester critiques and final semester review boards. Prerequisite: MTL210 and any metals elective.

Prerequisites: 3DML-210, 3DML-220 and 3DTD-201

Fall Only

3DML301 3D Seminar: Metals 3 cr.

Spring semester junior level seminar. A forum for discussion of current contemporary art-making issues in the medium of metal. Students research the topics and artists important to their own development. Visiting artists, slide lectures, studio visits, and exhibitions are incorporated. With faculty assistance,

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students define and develop a personal body of work. An active journal with source material related to this work is required, as are mid-semester critiques and final semester review boards.

Lecture/Seminar

Spring

3DML302 Advanced Jewelry 3CR

Advanced Jewelry is an upper level course in which technical applications are explored and incorporated in the format of body adornment. A series of traditional and contemporary techniques are demonstrated in class and students are required to create samples. The technical samples coupled with the completed pieces of jewelry are an opportunity to gain a working knowledge and fluency with gold and silversmithing techniques while being a thoughtful and creative studio jeweler.

Prerequisites: 3DML-200 or 3DML-220

Hybrid Studio Critique

Fall

3DML304 CAD for Jewelry and Metals 3 cr.

Computer-Aided Design for Jewelry and Metals is a focused elective that covers fundamental strategies and methods for creating jewelry and metal objects using computer technology. CAD and 3D modeling programs are used for developing a series of objects that are designed to be made with a variety of output including CNC milling and rapid prototyping.

Prerequisites: MTL210 or MTL200 or permission

Hybrid Studio/Critique

3DML305 Raising and Forming 3 cr.

This course uses traditional large-scale forming techniques to develop sculptural forms and vessels. Raising or smithing skills are required.

Prerequisites: 3D220 or 3DSC353

Hybrid Studio/Critique

185

3DML307 Color & Concept 3CR

Color is a powerful means of expression for artists. This course, designed for advanced level students, is an in-depth exploration of innovative options for the use of color within a jewelry and metal working practice. It addresses both conceptual as well as practical application of color. Students research and discuss the concepts surrounding and psychological meaning of colors with the goal of encouraging the development of a personal palette and its application to individual projects. Demonstrations cover traditional surface treatments such as patinas, painting and enameling as well as the application of resins and powder coating. Students learn how to work with synthetic materials like Acrylic and Nylon and dyes to color them. Equal emphasis is placed on gaining technical proficiency and on individual experimentation.

Upon completing this course, students make a specific body of work of jewelry and/or objects that exhibit an understanding of the application of color both conceptually and through process.

Co-requisites: 3DML-200 0R 3DML-210 OR Permission of the Instructor

Hybrid Studio Critique

Spring

3DML350 Adv.Studio: Metals 3 cr.

Nurtures the development of a coherent body of work based on sophisticated techniques and a maturing sense of aesthetic direction. The course stresses the importance of drawing, models, and journals to the creative process. Students propose and complete three projects. Group and individual discussions emphasize the development of critical vocabulary along with advanced technical exploration.

Hybrid Studio/Critique

Fall

186

3DML351 Adv.Studio: Metals 3 cr.

Nurtures the development of a coherent body of work based on sophisticated techniques and a maturing sense of aesthetic direction. The course stresses the importance of drawing, models, and journals to the creative process. Students propose and complete three projects. Group and individual discussions emphasize the development of critical vocabulary along with advanced technical exploration.

Prerequisites: 3DML350

Hybrid Studio/Critique

Spring

3DML392 MTL Course Assistantship

3DML398 MTL Internship

3DML399 MTL Independent Study

3DML401 3D Seminar: METALS 3 cr.

Spring semester majors seminar. A forum for discussion of current issues in contemporary metal object- making. Students research the topics and artists important to their own development. Visiting artists, slide lectures, studio visits, and exhibitions are incorporated. Students work with faculty to develop a personal body of work that represents depth and breadth of exploration of the medium. Mid-semester critiques and final semester review boards required. Before graduation, students are required to document their work and submit 10-20 slides of their final projects to the FA3D Department.

Lecture/Seminar

Spring

3DML450 Adv.Studio: Metals 3 cr.

Production of a consistent, advanced body of work. Students work with faculty to develop a personal body of work that represents depth and breadth of exploration of the medium. Group and individual discussions emphasize the development of critical vocabulary along with advanced technical exploration. Group and individual discussions emphasize the development of critical vocabulary along with advanced technical exploration. 6 credits.(two semesters)

Hybrid Studio/Critique

Fall

3DML451 Adv.Studio: Metals 3 cr.

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Prerequisites: 3DML450

Hybrid Studio/Critique

Spring

Fine Arts 3D: Sculpture

3DML315 Animal Sculpting 3cr

This course is taught in two segments. The first segment consists of building an ecorche of a cow. Students examine the anatomy of the cow through reference sources and from life, with a goal of developing an understanding the internal structures which account for it's form. During the second segment, students have an opportunity to apply what they learned by creating a sculpture of the animal they choose. This course require field trips.

Prerequisites: Anatomical Structures preferred, but not required.

Hybrid Studio Critique

Spring

3DSC3X0 Advanced Figurative Sculpture 3 cr.

Hybrid Studio/Critique

3DSC3X1 Bladesmithing 3 cr.

Course will include a compressed pattern welding (Damascus steel) tutorial with students grouped in pairs to produce the pattern welded steel for their projects. Second phase will include: knife design and construction. Third phase will include fabrication and finishing of projects.

Prerequisites: 3DSC253

Hybrid Studio/Critique

All College Elective

3DSC3X2 Technology and Culture 3 cr.

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This is a studio course open to beginning and advanced students. The course will focus on the interrelationship between technology and culture and is dedicated to the study of historically significant artifacts.

Hybrid Studio/Critique

3DSC201 Foundry Processes in Sculpture 3 cr.

An introduction to the foundry process. Students make bronze and aluminum castings using processes of greensand and lost-wax ceramic shell casting. Course covers mold-making, casting, and chasing. Emphasis is on personal expression and technical proficiency. Proper use and maintenance of all tools is stressed.

Hybrid Studio/Critique

3DSC202 Ceramic Handbuilding 3 cr.

Exploration and instruction to develop technical, aesthetic, and skills in ceramic handbuilding processes. Projects are designed to use clay as a versatile material for all types of object-making. Students investigate historical and contemporary artists and techniques. Various tools include the slab roller, extruders, plaster molds, and sand blaster. Slip/glaze applications include both high and low-fire techniques with gas and electric kilns.

Hybrid Studio/Critique

3DSC203 Molding and Casting 3 cr.

This is a beginning course in mold-making, introducing materials and techniques used in the creation of rigid and flexible molds. Initial focus will be on traditional casting methods, including life-casting and the use of waste molds, but as the semester progresses and the student begins to understand the possibilities of the processes, alternative methods and materials will be introduced.

Hybrid Studio/Critique

3DSC220 Iron Casting 3 cr

Ironcasting as an art form has grown out of hundreds of years of ritual ceremony and industrial innovation. This convergence has been reinvented and found new life in the contemporary sculpture field. This course will cover the multi-faceted discipline of ironcasting, including the function of the furnace and corresponding equipment, cast iron art objects, and the performance potential of the material in its liquid state, with particular emphasis on safety and proper procedure. We will examine different mold possibilities used in conjunction with this process; including ceramic shell, the introduction of resin-bonded sand, and alternative, unconventional, casting practices. Throughout the course will discuss the historical, contemporary, and conceptual attributes of cast iron as a sculpture material, approaching our investigation this from both a technical and aesthetic vantage point.

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Prerequisites: 3DSC220 hybrid studio/critique elective Fall

3DSC221 Flexible Structures 3 cr.

An exploration of traditional and nontraditional methods of form-making using a variety of flexible, soft, or fibrous materials. Projects explore both technical and conceptual possibilities. Students investigate materials for their potential as sculptural, architectural, functional objects and as mixed-media installations and site-specific environments.

Hybrid Studio/Critique

3DSC222 Puppet Workshop 3 cr.

This course is an introduction to the basics of movable dynamic figures (possibly human but possibly otherwise) in a variety of materials which respond to the action of the human hand (or, conceivably, other body parts). Through lectures, demonstrations and assigned projects, this course will cover the creation of a variety of movable joints. The class will concern itself with an assortment of means of providing and delivering motivation from human students to otherwise inanimate puppets, either directly or with such means as strings, rods or other connectors. Put simply, we want to make puppets, we want them to be movable and we want to make them move.

Hybrid Studio/Critique

Departmental Elective

3DSC223 Design and Construction in Metal 3 cr.

Introduction to "cold" metal fabrication techniques and machining processes. Students learn to make precise measurements, read mechanical drawings, design and create various types of mechanical joints. Processes include use of power shear, sheet roller, pan brake, English wheel, precision lathe and vertical milling machine. Each student is encouraged to create a final project that integrates these techniques and processes with their personal artistic goals.

Hybrid Studio/Critique

3DSC232 Color for Object Makers 3cr

This course looks at the use of color in historical and contemporary sculptural practices. The goals of this course are for students to engage and understand the following:

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The qualities and properties of color. The influence of historical practices on the use of color in sculpture. The use of color in object making. The relationship between color and meaning. The theories underlying contemporary understanding of the social and psychological impact of color.

Seminar Critique

Undergraduate Elective Fall

3DSC234 Metalshop I 3cr

Students in Metalshop I will focus on engaging with MIG welding, and ancillary metalshop tools such as, but not limited to: bandsaws, sanders, shears, rolls, drill presses, etc. The course focuses on craft, with an emphasis on safety and studio practice and community.

Hybrid Studio Critique

Fall

3DSC235 Portraiture 3CR

A sculptural study of the elements and practice of portraiture. Students will begin with a life-size anatomical study of the human head in clay from a model. The remainder of the semester will be devoted to the creation of portraits, possibly in clay and possibly in other materials, and the development of an individual form language. Throughout the class we will be examining aspects of various styles of portraiture from different eras and considering the requirements of the genre.

Hybrid Studio Critique

Spring

3DSC251 Figurative Clay 3 cr.

The human body is a complex form. During this studio course we will simplify this form by breaking it down to it's basic components, and develop an understanding of the relationships between the parts and the ways in which that relationship contributes to gesture. We will also explore modeling drapery and a portion of the semester will be spent on figurative relief in clay. Live models will be used throughout the course as reference.

Hybrid Studio/Critique

191

3DSC253 Welding 3 cr.

An introduction to the construction of steel sculpture produced through oxy-gas and arc welding. Students work with forging and machine shop practices.

Hybrid Studio/Critique

3DSC260 Woodcarving 3 cr.

An introduction to wood-carving methods with basic information about types of wood and traditional uses. Demonstrations cover use and care of mallets,chisels and knives. Proper use and maintenance of all tools is stressed.

Hybrid Studio/Critique

3DSC300 3D Seminar: Sculpture 3 cr.

A forum for discussion of current contemporary art-making issues in sculpture. Students research the topics and artists important to their own development. Visiting artists, slide lectures, studio visits and exhibitions are incorporated. With faculty assistance, students define and develop a personal body of work that represents depth and breadth of exploration of appropriate media. An active journal with source material related to this work is required, as are mid-semester critiques and final semester review boards. 6 credits (two semesters)

Prerequisites: All freshman and sophomore prerequisites

Lecture/Seminar

Fall

3DSC301 3D Seminar: Sculpture 3 cr.

Lecture/Seminar

Spring

3DSC304 Advanced Metal Project 3 cr.

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This course offers to students who have successfully completed any of the beginning metalshop classes a venue to further enhance their hand and conceptual skills. Projects will be generated individually , and each student will develop a series of works based upon his or her preferred medium. Drawings, process plans, and critiques will be an integral part of the class. Students will be expected to present their work to the class for feedback all during the process. Advanced welding, fabrication, black-smithing, and foundry will be covered on an as-needed basis.

Prerequisites: Take one of the following: 3DSC-253 Welding 3DSC-234 Metalshop I 3DSC-223 Design & Construction in Metal 3DML-304 CAD for Jewelry & Metalsmithing 3DTD-306 3D CAD EDAD-318 Revit I & II EDAD-518 Revit I & II (grad section) EDID-216 Intro CAD

Hybrid Studio/Critique

3DSC309 Advanced Wood Sculpture 3 cr.

This is a hands-on studio course focusing on sculptural object-making, using wood as a medium. The course will integrate intuitive approaches and structured processes through direct engagement with the material. In addition to guiding the student through various technical hurdles encountered as the projects unfold, equal stress is placed on the development of ideas and intent. Investigations in planning and prototyping, multiples production and large-scale works will also be included.

Prerequisites: 3DTD201 or EDAD202

Hybrid Studio/Critique

All College Elective

3DSC310 Intro to Kinetic Art 3 cr.

This course is intended for object-makers, to introduce motion into their sculpture. An overview on the history of kinetic art is provided to inspire a richness of conceptual thinking. The course is directed toward a final project of the student's design, which may be sculpture, installation, performance, costume, robotics, toys, etc. Issues covered include: mechanism design and troubleshooting; hand cranks; ratchets; solenoids; motors; drive systems; and, basic steelworking techniques aimed at building safe and reliable kinetic art.

Prerequisites: 3DSC253, 3DSC264 or instructor's permission

Hybrid Studio/Critique

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3DSC313 Advanced Foundry 3cr

Students in this section review and build upon the techniques and processes from 3DSC201, and are exposed to knowledge about how to run foundry equipment such as: burnout kilns, melting furnaces, and ceramic shell slurry equipment.

Prerequisites: 3DSC-201

Hybrid Studio Critique

Undergraduate Elective Fall and Spring

3DSC334 Metalshop II 3cr

Metalshop II begins where Metalshop I left off. First, there will be a review of the techniques learned in Metalshop I. Machining and cold-connections will be explored alongside and building upon skills from Metashop I.

Prerequisites: 3DSC-253 or 3DSC-234

Hybrid Studio Critique

Fall and Spring

3DSC350 Adv.Studio: Sculpture 3 cr.

Nurtures the development of a coherent body of work based on sophisticated techniques and a maturing sense of aesthetic direction. The course stresses the importance of drawing, model-making, and journals to the creative process. Group and individual discussions emphasize the development of critical vocabulary along with advanced technical exploration. 6 credits (two semesters).

Hybrid Studio/Critique

Fall

3DSC351 Adv.Studio: Sculpture 3 cr.

Nurtures the development of a coherent body of work based on sophisticated techniques and a maturing sense of aesthetic direction. The course stresses the importance of drawing, model-making, and journals to the creative process. Group and individual discussions emphasize the development of critical vocabulary along with advanced technical exploration. 6 credits (two semesters).

Hybrid Studio/Critique

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Spring

3DSC353 Metals Fabrication & Blacksmithing 3 cr.

Development of skills and techniques used in ferrous and nonferrous metal object-making. Students learn hot forge processes and machine tooling. Projects incorporate conceptual experimentation and technical skill development. Proper use and maintenance of all equipment is stressed.

Prerequisites: 3DSC253

Hybrid Studio/Critique

3DSC354 Anatomical Structure 3 cr.

An in-depth study of the bones and muscles of the human figure, working primarily in 3D form. Course covers movement, proportions, and development through growth and aging.

Hybrid Studio/Critique

3DSC392 SC Course Assistantship

3DSC398 SC Internship

3DSC399 SC Independent Study

3DSC401 3D Seminar: Sculpture 3 cr.

A forum for discussion of current issues related to contemporary sculpture. Students research the topics and artists important to their own development. Visiting artists, slide lectures, studio visits, and exhibitions are incorporated. Students work with faculty to develop a personal body of work that represents depth and breadth of exploration of appropriate media. Mid-semester critiques and final semester review boards required. Before graduation, students are required to document their work and submit 10-20 slides of their final projects to the FA3D Department.

Lecture/Seminar

Spring

3DSC434 Metalshop III 3cr

Metalshop III is for students who are thoroughly engaged in all aspects of metalworking. Students will review the processes developed from Metalshop II, and create their own projects to complete. All aspects of Metalworking in the shop will be engaged.

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Prerequisites: 3DSC-201 and 3DSC-334

Hybrid Studio Critique

Fall and Spring

3DSC450 Adv.Studio: Sculpture Not on Web 3 cr.

Production of a consistent, advanced body of work. Students work with faculty to develop a personal body of work that represents depth and breadth of exploration of appropriate media. Group and individual discussions emphasize the development of critical vocabulary along with advanced technical exploration. 6 credits

Hybrid Studio/Critique

Departmental Requirement Fall

3DSC451 Adv.Studio: Sculpture 3 cr.

Prerequisites: All freshman/sophomore level SC requirements (SC200/SC201)

Hybrid Studio/Critique

Departmental Requirement Spring

Fine Arts 3D: Three Dimensional Arts

3DTD201 Projects in Wood 3 cr.

An introduction to object-building in the woodshop. Students are instructed in the proper use and application of hand and power tools, material selection, and safety issues. Weekly projects incorporate design/concept problem solving with various construction form-making techniques.

Prerequisites: SFDN182, SFDN183, SFDN191

Hybrid Studio/Critique

Fall/Spring

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3DTD208 Objects That Change Lives 3 cr.

This is a studio-based course that focuses on making ceramic objects which improve people's health and living conditions. Students will be introduced to various global non-profit organizations whose missions are to combine art and social concerns, including water purification, hunger, shelter and mental stress while learning how to make their own ceramic objects. Various handbuilding, wheelthrowing, mold- making and design techniques will be used in studio projects. This course is appropriate for both beginning and advanced-level students.

Hybrid Studio/Critique

3DTD212 Studio Practice 3cr

This course is designed to welcome new FA3D majors into the practices and dialogues centered within material and object-based disciplines. By integrating making and dialogue, and focusing on what it means to develop a practice in the studio, the course offers a platform for organizing the learning of electives, studio and seminar courses to come. Through dialogue with students across all areas of the major and through the involvement of faculty from all areas, a shared understanding and differentiated vocabulary can be cultivated. Particular attention will be brought to unpacking the complex inheritances and hierarchies of our fields.

3DTD213 Artist Resource Projects 3 cr.

MassArt is an institution, but it doesn't have to look like one! There are many needs that the college has for stairway banisters, planters, railings, conference tables, signage etc. This course is a focused effort to address some of the needs of the college as a professional, creative opportunity. Students select one or more projects for the class to address as a group effort.

Hybrid Studio/Critique

3DTD214 Lasercutting for Object Makers 3cr.

This is a multi-disciplinary course using laser-cutting technology to explore new ways of designing and making art with digital design processes to achieve a physical outcome. The course provides a hands-on introduction to laser technology as a resource for creative applications within the art practice. Students will investigate the use of multiple materials resulting in sculptural objects and installation concepts, jewelry and accessories, apparel and functional products. This process is particularly interesting for the creation of multiples, for the fabrication of functional components, for the production of repeated simple shapes and for the creation of one of a kind objects. In addition instruction in laser cutting and software, students will be introduced to the use of hand tools, drills, cold connections, heat forming and adhesives.

Undergraduate Elective Spring Only

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3DTD215 Technology & Culture I 3cr

"Technology & Culture I is an "envelope", or "template" course; whereby the general course content, outcomes, and methods for assessment remain the same in addressing various topics. "Technology and Culture I:" is a project-based all college elective and departmental elective that has no prerequisite. This course provides the opportunity for students from all levels to participate in a collaborative effort to fully explore the significance of a specific historic object, object type, or method of object-making.

Sample Topic: Technology & Culture I: Trojan Horse

In this course students will research the history of the Trojan Horse through an intense investigation of myth, literature, history, art, architecture, archeological findings, sculpture, drawings, period boat building techniques, material culture, ancient horses, bronze age tools, art and crafts building techniques. This semester will include research, lectures, demonstrations, museum visits, drawings, model making, and presentations. During the semester students will produce drawings clay models, and wooden models of the Trojan Horse with the intention ultimately to build a full-scale reproduction in wood in cooperation with the International SPY Museum In Washington DC.

Hybrid Studio Critique

Fall and Spring

3DTD216 Lighting Design for Object Makers 3CR

Engaging with Light as a material, and how light interacts with traditional and non-traditional materials such as wood, paper, concrete, metal, plastic, stone, etc., and how that light behaves when deployed in different settings, such as a living room, bed room, corporate office, etc. Students will explore how light is transmitted from different sources, how it transmits through and reflects off different materials and how that shaped the way we experience spaces.

Hybrid Studio Critique

Fall

3DTD232 Color for Object Makers 3cr

This course looks at the use of color in historical and contemporary sculptural practices. The goals of this course are for students to engage and understand the following:

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-The qualities and properties of color. -The influence of historical practices on the use of color in sculpture. -The use of color in object making. -The relationship between color and meaning. -The theories underlying contemporary understanding of the social and psychological impact of color.

Hybrid Studio Critique

Spring

3DTD309 History of Adornment 3 cr.

This lecture-based course is designed to provide a deeper understanding of the jewelry traditions in non-western as well as western cultures. Topics are thematically organized and examine historic and contemporary contexts through slide lectures. The lectures are complemented by a library tour, fieldtrips, visits to local museum collections and current gallery exhibitions and visiting artist lectures (which are organized by the Jewelry and Metalsmithing Area). Ongoing class discussions focus on related topics and assigned reading material. Part of the class is geared towards strengthening presentation as well as research skills through specific assignments.

Lecture/Seminar

All College Elective

3DTD310 Theme: Narrative 3CR

An investigation of traditional and modern uses of symbols through objects and place. Projects cover storytelling, literary comparisons, and analogies with ancient and personal ritual objects and images.

Hybrid Studio Critique

Spring

3DTD320 Critique Practices 3cr

This course takes studio critique as both a subject of study and as a practice of peer inquiry and feedback. As the subject of the course, the practice of critique is studied through readings and reflections upon the history, current norms, and emergent practices of peer review today, particularly in relation to questions of equity within arts education. As practice for the course, students will examine their own and others' work

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through emergent modes of critique with the aim of better understanding both the work and the practice of critique itself.

Critique

Spring

3DTD330 The Art of Furniture Design I: Fundamentals of Design and Construction 3 cr.

In this course students initiate and are guided through a hands-on design/build project based on fundamental tenets of furniture design. Students will come to class with work from Design Processes for Furniture Design to use as the basis for their project. This studio shop course will begin with a review of design fundamentals and the concept design process. If necessary, concepts are refined through additional drawings and maquette model-making as preparation for the concluding phase: completion of the final product. This class will also be open to students outside of the certificate program who have experience in basic hand tool use and maintenance as well as a comfort level for work in standing machine power tools.

Prerequisites: Design Processes for Furniture Design

Hybrid Studio/Critique

Departmental Elective

3DTD340 The Art of Furniture Design II: Fundamentals of Design and Construction 3 cr.

Prerequisites: The Art of Furniture Design: Fundamentals of Design and Construction I

Hybrid Studio/Critique

Departmental Elective

3DTD392 TDA Course Assistantship

3DTD398 TDA Internship

3DTD399 TDA Independent Study

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3DTD400 FA3D Senior Seminar 3 cr.

An examination of the business aspects of being an artist and a survey of career options and graduate school possibilities. Various professionals visit the class, including accountants, gallery directors, curators, lawyers, working artists, and public art directors. Students prepare a professional portfolio, which includes a resume and statement of intent, and give several presentations. Students are required to leave a copy of these materials in the FA3D office upon graduation. This course is required of all seniors in FA3D and is offered in the fall semester only.

Lecture/Seminar

Fall

3DTD440 Intermediate Furniture Design: Pre-Capstone Studio 3 cr.

Hybrid Studio/Critique

Departmental Elective

3DTD441 Furniture Design Capstone 3 cr.

This is the culmination of a five-semester concentration on the development of studio furniture. Students are required to produce a significant work of merit - a furniture suite, or a series of pieces - in order to successfully complete the capstone course. The expectation is for the student to produce work which is a cohesive representation of his or her individual aesthetic voice and vision. As such, the final work will be the defining element of the emerging artist's portfolio as the student moves into professional practice.

Prerequisites: Intermediate Furniture Design: Pre-Capstone studio

Hybrid Studio/Critique

Departmental Elective

GRAD718 Mentor Independent Study 4 6cr

Working with a personally selected, locally based faculty-mentor, students develop work that is critically informed and self-directed. During the second year of the program, students work with their mentor to develop a body of focused work in preparation for the final Thesis Exhibition.

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Graduate

AETE522 Student Teaching Practicum II 3cr

As part of the final semester, students will focus on the practice of teaching as a student teacher intern at a school site under the guidance of a certified teacher called the supervising practitioner. A MassArt instructor will teach the seminar class at MassArt and also serve as the program supervisor by observing the student teacher intern at the school location at least four or more times throughout the semester. Students in the practicum are required to complete the following based on the appropriate standards for course grading at MassArt and for the MA Department of Education Practicum Form and Preservice Performance Assessment documenting their summative assessment by using sources of evidence, as designated in the DOE Guidelines of August 2004. The student teacher intern is expected to complete approximately a twelve week practicum at the school site. It is expected that the student teacher intern will meet the guidelines as outlined in the Student Teaching Internship Practicum Handbook.

AETE541 Issues and The Individual Learner 3cr

An opportunity for students to explore skillful communication, particularly as it relates to expectations, beliefs, relationships, and management with children and youth. Also, an examination of contemporary readings and modelsthat link diversity and art education. Fieldwork with a variety of learners Pre-K to 12th grade is a significant component of the course. [Formerly titled Seminar III:Issues&Ind. Learn]

AETE542 Saturday Studios Pre-Practicum I 3cr

An intensive study of a variety of teaching models and their respective planning strategies. Reading and discussions will address writing lesson plans, conducting instructional sessions, and assessing student learning at all ages. Students make direct field observations in schools, community settings, and museums. Students will also be required to serve at least three Saturday mornings as research and teaching assistants to the Saturday Studios teachers who provide instruction for 3rd to 12th grade students.

AETE543 Saturday Studios Pre-Practicum II 3cr

Prerequisites: AETE542

AETE545 Designing Curriculum 3cr

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An exploration of the philosophical, sociocultural, and personal issues that shape long-term art curriculum development for a course, year, or program in PK-12 settings. Through readings and critical analysis of existing models, students design individual solutions to curriculum problems in the visual arts. [Formerly Titled Seminar V:Curriculum]

AETE546 Student Teaching Practicum 6cr

AETE549 Artist Teacher Studio 3cr

Artist Teacher Studio is designed to help teaching interns navigate the balance between being an artist while being a teacher. Students collaborate to find ways to maintain their own art practice, to bring the works and practices of contemporary art into teaching, to create and participate in communities of support, and to use art and teaching engagement as foundations for research. [Formerly known as Portfolio: Artist/Teacher Seminar]

AETE640 Art and Human Development 3cr

An exploration of cognitive and psychosocial development of learners from birth through the lifespan, considering psychological, sociological, and anthropological theories. Theories of development and the nature of art-making are the focus of the course.

AETE644 Concepts and Processes 3cr

An intensive, condensed examination of the traditional and new media of visual artists as used in elementary, middle, high school, and other educational settings. Emphasis is placed on the relationship of materials and processes to the images and ideas they convey, as well as the practical concerns of organization, age- appropriateness, special adaptations, and efficient routines. Each student engages in research and an in- depth exploration of a concept/process. Special consideration is given to substantive, appropriate, and respectful content in Pre-K to 12 classrooms.

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AETE647 Studio Investigations 3cr

This intensive visual arts studio course is meant to connect and expand candidates' engagement with their own studio practice and includes review and benchmark. Participation in outside lectures and related readings is required. Qualifying outcome: Successful benchmark for a body of work, plan for moving forward, and completion of other course requirements.

AETE648 Teaching in New Media 3cr

Through project-based inquiry, this course addresses issues of teaching art in new media. Students evaluate the roles of new media technology for existing PK-12th grade art curricula and develop projects that support the art making experience. The course emphasizes building inventive, interdisciplinary curriculum for teaching art. Most classes are structured as a combination of lectures, conversations, visits to maker labs, research, and studio time. The final project for the class is the development of an interdisciplinary lesson plan/unit with supporting materials.

AETE650 Foundations and Research in Artist Contexts 6cr

This course establishes a foundation in artist, researcher, and teacher contexts and settings and in research practices. Students are introduced to two overlapping areas of content: (1) historical development and contemporary contexts of art education in the USA, and (2) diverse paradigms of research in the field of visual arts education, with emphasis on those appropriate to research questions for investigation of individuals' practices in PK-16 art education contexts. Through readings, discussions, presentations, and individual and collaborative projects, students determine a research direction and develop a proposal as a foundation for their MEd research in the remaining terms of the program. Participation in outside lectures and related readings is required. Qualifying outcome: Research proposal and completion of other course requirements.

AETE652 Social and Cultural Contexts for Art Education 3cr

This course explores characteristics of diverse learners, cultures, and issues of social justice in art and educational contexts through readings, discussions, and projects. Qualifying outcome: Completion of course requirements.

AETE654 Problems in Aesthetics 3cr

This course investigates historical and contemporary theories and philosophies of western art in the context of a global society through readings, discussions, and projects. Qualifying outcome: Completion of course requirements.

AETE656 Research Investigations I 3cr

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This course supports students in learning research design and data collection around a practical question of professional interest and importance to art and teaching at PK-16 levels. Qualifying outcome: Data collection, research plan revised, and other course requirements completed.

Prerequisites: AETE650

AETE658 Research Investigations II 3cr

This course supports students in developing greater validity in research outcomes around a practical question of professional interest and importance to art and teaching at PK-16 levels. Students refine research methods and data analysis and begin exploring journals in which to publish their work. Qualifying outcome: Research process presentation, plan and completion of other course requirements.

Prerequisites: AETE656

AETE747 Studio Investigations II 6cr

This intensive visual arts studio course includes final review and benchmark of a body of artwork. Participation in outside lectures and related readings is required. Qualifying outcome: Successful benchmark of a body of artwork and completion of other course requirements.

Prerequisites: AETE647

AETE750 Final Projects in Research and Contexts 3cr

Students write and submit an article to submit for publication that aligns with the style format of a specific journal they select. The article is based on research they conducted during the program at PK - 16 art-teaching sites. Participation in outside lectures and related readings is required. Qualifying outcome: Article submitted for publication and suitable for research presentation, completion of other course requirements.

Prerequisites: AETE656

DSGN601 Design Studio I 6cr

Design Studio is an advanced program of study and research in communication design. Part I focuses on fundamental principles of visual communication in the context of interactive media; Part II focuses on complex information structures for various contexts and audiences, emphasizing interactive media in the context of information design.

Fall

DSGN602 Design Studio II 6cr

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Prerequisites: DSGN601

Spring

DSGN611 Design Seminar I 3cr

Part I examines socioeconomic and technological context of design disciplines, producing a comprehensive paper that analyzes history of design concepts and movements and their impact on current design practice. Part II examines and debates current issues of communication design and design education in lectures, studio projects, readings and discussions, with emphasis on the intellectual context of design.

Fall

DSGN612 Design Seminar II 3cr

Prerequisites: DSGN611

Spring

DSGN631 Elements of Media 3cr

This course is focused on developing a better understanding of the complexities of the re-synthesis of visual, oral, aural, and temporal information as they exist in timebased and interactive media. Through lecture and in-class demonstration students will learn the technological processes necessary to begin temporal explorations in sound and image

DSGN633 Design As Experience 3cr

This is a multidimensional and multi-sensory research based course, focused on creative processes that integrate form and content generated within and outside of the class experience. Students explore temporal, spatial, visual and verbal aspects of communication process. Work consists of both static and dynamic media presentations and individual and group projects

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DSGN701 Thesis Project I 6cr

The thesis project DSGN 701 / DSGN 702 courses provide a supportive context for the development of the project component of the thesis. The class limited to 5 students, is a forum to articulate and debate the issues associated with individual thesis projects. The work in class is structured by a specific agreement between the student and faculty advisor, who guides the program of study, and provides ongoing feedback and evaluation. The student select a particular course/faculty upon approval of the preliminary thesis proposals. The faculty advisors may further define their own specific criteria, process and schedule of thesis development.

Prerequisites: DSGN602

Fall

DSGN702 Thesis Project II 6cr

Prerequisites: DSGN701

Spring

DSGN711 Thesis Seminar I 3cr

The thesis document DSGN-711 / DSGN-712 courses provide a supportive context for the development of the document component of the thesis. The class is a forum for students to articulate, debate and record the results of their research and design process and provide critical discussion of historical and contemporary context of their work. The final thesis document becomes a part of the graduate design archives.

Prerequisites: DSGN612

Fall

DSGN712 Thesis Seminar II 3cr

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contemporary context of their work. The final thesis document becomes a part of the graduate design archives.

Prerequisites: DSGN711

Spring

EDAD502 Methods and Materials 3cr

This course introduces students to the origins, properties, working methods, and assembly techniques of the major materials that comprise the built environment with a focus on the development of woodshop skills and wood frame construction.

EDAD510 Architectural Design I 3cr

Introduction to architectural design as a social art. The course lays the foundation of basic skills in architecture through which students are introduced to design through observation of people and places, program schematics, access, siting and elementary building languages. Through a series of projects of increasing complexity, students work on designs that include small scale private and public programs, and transform ideas into built form.

EDAD511 Digital Tools 3cr

EDAD516 History of Architecture& Urban Planning I 3cr

The course examines building cultures from different periods and places, beginning with pre-history and ancient civilizations from more than 5000 years ago that kept the first written records, through the era of medievalism up to the dawn of modernity. Emphasis is given to different aspects of the built domain: selected individual buildings, their symbolical significance, layouts, spatial organization, construction, building materials and technologies, along with buildings' sites and city plans within the broader urban and cultural landscapes. Each lecture is based on a variety of case studies of buildings and settlements explored within their specific geographies and historical settings. Rather than asking for simple memorizing of particular data or dates, students develop skills of analyzing, comparing, and getting oriented within distinct historical spaces and periods.

EDAD517 Architectural Design I 3cr

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EDAD520 Architectural Design II 3cr

The studio focuses on the development of tools and fundamental skills for primary competence in design leading to an emerging ability to integrate design explorations-the ability to think critically about and integrate research and precedents, climate and site, program, use and structural building propositions.

EDAD526 History of Architecture and Urban Planning II 3cr

The course explores building cultures from around the world from 1400s until the mid-20th century. As the time-line covered in the course starts with the Renaissance -- defined by its radical shift from the previous, predominantly religious, ideological framework, to man-centered belief systems -- the entire period can be generally considered as the Age of Modernity. Therefore, special attention in the course is paid to the various concepts, understanding, and architectural manifestations of the idea of Modern. Each lecture is based on a variety of case studies - specific buildings, urban plans and theoretical statements of the leading architects, planners and visionary contributors to the creation of the built domain, understood through the specificities of the ideological, cultural, and intellectual settings of different periods and geographies.

EDAD527 Architectural Structures II 3cr

This course continues structural design of wooden buildings and computations for generic or special extra load applications requiring compound wood sections. The course introduces steel construction and calculation for steel beams and columns and environmental systems of plumbing, heating, and insulation. Students will design a domestic plumbing system.

EDAD530 Architectural Design III 3cr

Development of architectural design skills that address the issues of housing both locally and globally viewed through a lens of cultural differences in typical / minimum housing sizes and varied user profiles. The coursework includes investigation of elements of urban tissue such as plazas, squares, street edges and systems of city form understood through street patterns and greenways followed up in a site study focused on the primary design project for the studio. Students explore needs, values, norms and spatial patterns as a means to sensitize them to diverse physical and cultural environments that culminates in the design of a mixed-use housing project in a local urban context.

Prerequisites: EDAD-520

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EDAD532 Sustainable Architecture 3cr

The goal of this course is to define sustainable architecture in contemporary practice through two primary approaches: Tool Kit Creation & Critical Analysis

Tool Kit. A collection of digital spreadsheets, indices, CAD details, drawing in plan and mostly section, details, and instruction on existing software, providing students with useable strategies for design.

Critical Analysis of a wide range of sustainable design principles leading to an understanding of detailing methodologies in many types and scales of construction and materials. Material will also address issues of site, building form, building service systems and place-making, and provide comparison of details with constructed functioning cultural precedents. The course will also include field trips, workshops, and visiting lecturers.

EDAD535 Professional Practice I 3cr

Students are introduced to the issues of architectural practice through social and community design issues, fiduciary responsibility, design and construction contracts and contract law, regulations and codes governing design and construction, ethics, sustainability and environmental issues and requirements for planning, site design and building design and construction.

EDAD567 Building Operating Systems 3cr

EDAD577 Structures Overview 3cr

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EDAD605 Community Build Studio 12cr

This studio is a design/build intensive focusing on a design problem with a community partner to provide the opportunity for students to design and construct a project as a full time experience in a single summer. This includes developing empathy for and sensitivity to the requirements of a community client through interviews, site observation, and measuring, programming, and presentation, while being exposed to specifications, budgeting, cost-control strategies, scheduling of a project from design through construction, and developing construction documents. The studio is set up as a collaborative experience in which the students direct a design and construction process with engineers, landscape architects, and other professionals in the community. Students design systems of assembly in wood, metal, and concrete, in a context that encourages a thoughtful approach to sustainable materials selection and reuse. As the work progresses through construction, students develop design and artisanry skills and are exposed to community building and leadership, with the hands-on experience of engineering and building systems.

EDAD702 Architectural Design VII 6cr

Design studio with a complex, multi-storied program in an urban site, in which students integrate a site analysis with an historical context, public space and select structural systems and enclosure, and the development of sustainable systems integration relevant for planning neighborhoods and communities in the Boston area. Students analyze urban and historical site and building precedents, select and design steel and concrete frame systems that support their project concept, site and proposed uses, develop typical wall sections illustrating an understanding of fire separation assemblies, sustainable building envelope systems, and hone graphic design skills in their presentations.

Prerequisites: EDAD-605

EDAD708 Thesis I 6cr

Completing a successful independent thesis is the culmination of the Master of Architecture degree at MassArt. In Thesis I students select an issue in the field of architectural design as the basis for their thesis project. The first half of the course is focused on developing well-structured research broadly based on the student's topics of interest and related areas that influence the program, approach to the site, technologies and other aspects relevant to the design. The goal is to develop the thesis proposal with a finalized site and a research agenda.

In the second half of the course, the students zero in on their sharpened thesis topic, and work through the second round of more in-depth investigation and analysis of their earlier work, adding new components including interviewing experts, understanding current and historical precedents, and additional areas that may also support the social, cultural and philosophical issues for the design. By the end of the course, students have completed the research and analysis and have begun to test their concepts through preliminary design studies.

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Prerequisites: EDAD-702, EDAD-711, EDAD-720

EDAD711 Making Cities Work 3cr

What design decisions lead to a more sustainable future and how are those decisions made? The space between buildings-a city's parks, urban gardens and greenways, and infrastructures of water, transportation, and communication are integral to the making of the urban places we inhabit. In this course we examine how the architecture and design of cities is dependent on the underlying urban fabric by looking carefully at the forces that shape great urban spaces - the designers, the political players and the everyday urban dwellers. Contemporary projects ranging from The High Line in Manhattan to Germany's Landschaftspark Duisburg-Nord are used as case-studies in conjunction with study of Boston's historical and contemporary urban landscape. Students' final projects for the course involve direct observation, analysis, and documentation of selected sites in Boston. Through the case studies and investigations in Boston, we critically assess the social, cultural, environmental, and economic factors that influence built and landscape fabric of cities and what the confluence of those underpinnings means for the future of the places where we live.

EDAD720 Integrated Systems 3cr

Students explore strategies for enclosing buildings and examine how to integrate the building enclosure with its surrounding environment including framing, climate modification, and building services systems. Using their design from a prior studio as the basis for developing building enclosure systems, students will research and explore multiple building service/ environmental systems that compliment their design in a sustainable context. This exploration includes how evaluate, select and coordinate the structural framing and commonly used building service and environmental systems in association with the building envelope and it details. Students use their projects to gain knowledge of these systems as well as discover how to coordinate the interface between dissimilar enclosure systems

EDAD752 Architectural Design VIII 6cr

Students investigate multiple aspects of various building systems and regulatory requirement integration in the design process including structure, enclosure, environmental systems, codes, and material choices.

Prerequisites: EDAD-720 and EDAD-702

EDAD805 Professional Practice II 3cr

Professional Practice II is a continuation of Professional Practice I (EDAD-535) and covers topics essential to the business of architecture. Among the topics addressed are basic business concepts for the successful operation of an architectural firm and office, project finance including accounting fundamentals, forms of business organization, employer-employee relationships, business taxation,

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project management, and managing risk and professional liability. This material is then viewed through the lens of the architect's fiduciary responsibilities through design, on the jobsite, and in practice, and in relation to the issues of professional ethics and social and environmental responsibility.

EDAD808 Thesis II 6cr

Thesis II is the second semester of the studio design work leading to the completion and final presentation of the thesis project. Based upon research development in the prior semester, students complete the design project, and convincingly argue their architectural question at a final review to the Thesis Committee including peers and professionals in the field of architecture, using analytical and architectural design tools in order to make a meaningful contribution to the architectural discipline.

FA2D601 Fine Arts 2-D Major Studio I 6cr

The Major Studio meetings may include presentations by the instructor(s),critiques of student work in progress, presentations and critiques by visiting artists and scholars, and class trips or off-campus interactions. Students will be prepared to initiate and participate in critical discourse - verbally and visually. They will be able to establish artistic goals, demonstrate a working knowledge of the key issues related to their work, and make coherent, thoughtful, insightful presentations of their ideas and work. As artists, they will be able to identify, research, secure and use resources.

Fall

FA2D602 Fine Arts 2-D Major Studio II 6 cr

Prerequisites: FA2D601

FA2D701 Fine Arts 2-D Major Studio III 6cr

Prerequisites: FA2D602

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Fall

FA2D702 Fine Arts 2-D Major Studio IV 6 or 9cr

Prerequisites: FA2D701

Spring

FA3D601 Fine Arts 3D Major Studio I 6cr

The 3D Graduate Studio is designed to specifically support students in the development of studio work, leading up to and culminating in the Thesis Exhibition. First and second year grads from the areas of Ceramics, Fibers, Glass, Metals and Sculpture will meet together for this class, in both Fall and Spring semesters. This course is a companion to the Graduate Seminar. There will be particular emphasis on discussions and critique of studio work. There will be several forms of critique each semester, including those in the graduate studio, individual discussions with faculty and guest critics. Each semester there will be a final Review Board. In the fourth semester, there will be a Thesis Review following a Thesis Talk, which is attended by faculty, Graduate Students, Deans and invited Guest Critics. The program requires a successful completion of all Review Boards, and the Thesis Talk and Thesis Review. Full participation is required in all class discussions and critiques.

Fall

FA3D602 Fine Arts 3D Major Studio II 6cr

Prerequisites: FA3D601

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Spring

FA3D701 Fine Arts 3D Major Studio III 6cr

Prerequisites: FA3D602

Fall

FA3D702 Fine Arts 3D Major Studio IV 6 or 9cr

Prerequisites: FA3D701

Spring

GRAD601 Graduate Seminar 3cr

This required two-semester course brings together students from the graduate fine arts departments (2D, 3D, Film/Video, and Photography) to consider contemporary art practice from a variety of perspectives. Students interact with artsprofessionals including critics, curators and artists, and discuss the relationship between visual practice and theory, with the goal of understanding and articulating the conceptual framework of their own practice. Many of the artists and topics discussed possess interdisciplinary relevance, affecting artists from a range of fields. This course provides an opportunity

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for collaboration, for exploration of professional practice, and for discussion of contemporary issues that have a discernible impact on the art world.

Fall

GRAD602 Graduate Seminar 3cr

This required two-semester course brings together students from the graduate fine arts departments (2D, 3D, Film/Video, and Photography) to consider contemporary art practice from a variety of perspectives. Students interact with arts professionals including critics, curators and artists, and discuss the relationship between visual practice and theory, with the goal of understanding and articulating the conceptual framework of their own practice. Many of the artists and topics discussed possess interdisciplinary relevance, affecting artists from a range of fields. This course provides an opportunity for collaboration, for exploration of professional practice, and for discussion of contemporary issues that have a discernible impact on the art world.

Prerequisites: GRAD601

Spring

GRAD610 Major Studio 1 3cr

Close dialog between students and faculty is the core of the program. During residencies, students meet with Major Studio faculty at least twice a week for critique and discussion. Frequent visiting artists from multiple disciplines join the discussion and visit studios for one-on-one consultation.

GRAD613 Graduate Seminar 1 2cr

This multi-disciplinary Graduate Seminar is a hybrid form-combining theoretical inquiry and studio practice. The intent is to bring together a group of graduate students, who undertake an in-depth exploration of a specific concept through a diversity of voices and lenses. Students engage in collaborative processes, discussion, project making, and critique, and forge connections between a multiplicity of ideas and tactics. Critical thinking and studio practice are integrated as the work is articulated and situated. Collective dialogue increases empathy and awareness of the diversity of our personal and social realities. Topics are drawn from a diversity of sources including art and cultural theory, art curatorial critique, and artists' statements and interviews. Concepts have included the changing contingencies of 'place in space' and the new paradigms of 'relationship' in an increasingly global, immaterial and multi-sited culture.

GRAD617 Mentor Independent Study I 5cr

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GRAD618 Mentor Independent Study 2 5cr

GRAD620 January Critique I 1cr

A January weekend devoted to individual critiques of work produced by all students. The reviews take place on the MassArt campus where students install a selection of the work from the non-residency period lasting from August until early January. One-hour critiques are led by two of this program's faculty, individuals who also participate in the summer residency courses. Students are required to attend their own and other students' reviews for the entire weekend. Students are each assigned a review time and location to install their work (throughout MassArt). Reviews are comprised of a student introduction, faculty input, and a dialog concerning the work and ideas discussed. [Formerly titled Mid- Term Review 1].

GRAD710 Major Studio 2 3cr

GRAD711 Major Studio 3 3cr

GRAD713 Graduate Seminar 2 2cr

GRAD714 Graduate Seminar 3 2cr

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GRAD717 Mentor Independent Study 3 5cr

GRAD720 January Critique II 1cr

A January weekend devoted to individual critiques of work produced by all students. The reviews take place on the MassArt campus where students install a selection of the work from the non-residency period lasting from August until early January. One-hour critiques are led by two of this program's faculty, individuals who also participate in the summer residency courses. Students are required to attend their own and other students' reviews for the entire weekend. Students are each assigned a review time and location to install their work (throughoutMassArt). Reviews are comprised of a student introduction, faculty input, and a dialog concerning the work and ideas discussed. [Formerly titled Mid-Term Review 2.]

GRAD721 Thesis Defense 1cr

The Thesis Defense constitutes the final review of the work produced in the MFA: Fine Arts (Low- residency in Boston) Program. The purpose of this defense is to evaluate each student's Thesis Exhibition. This requires that students be able to discuss their work, to provide a context for it, and to respond to criticism and questions. At the conclusion of this formal review, a determination is made as to whether the student receives credit

HART680 Graduate Contemporary Art 3cr

In this course we analyze selected contemporary artworks by applying concepts from writings of the twentieth and twenty-first centuries. Some of the assigned essays come from the fields of philosophy, psychology, literary criticism, and cultural studies but now have a far broader significance across the arts and humanities. We will consider to what degree this popularity is justified. Throughout the semester, students determine where these essays are most and least useful for thinking about their experience of contemporary art. Close reading and close viewing enable students to come to understand the complexity of trying to translate one's unstructured interactions with art into words-a different medium

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that often seems to promise greater communicability than the original imagery, object, act, performance, and so on.

Fall

HART681 Art After Modernism 3cr

The range of approaches and interpretations of the meaning and purpose of contemporary art has expanded to levels never before seen. How do we make sense of this seemingly chaotic landscape where often directly conflicting interpretations of art making coexist? This course introduces major issues in contemporary art and criticism that help negotiate the relationship between art making and global art worlds. It takes a critical and historiographic perspective on major social/aesthetic problems such as expression, abstraction, identity politics, globalization, relational aesthetics, conceptualism, and the ideology of consumerism. Major artists, movements, and themes in contemporary art are introduced, including geometric and gestural abstraction, conceptual art, institutional critique, earth art, political intervention, feminism and art, neo-expressionism, postmodernism, video, performance, and installation art. Emphasis is on how our understanding of the history of art since the 1960s is continually being reframed by critical debate.

HART682 Artists' Writings 3cr

While works of visual art are not generated by words, artists in today's world must learn to use language to present their work. But before there is writing there must be reflection, thoughtfulness, and understanding. Writing's gift is that it serves its practitioners as both a medium for discovery as well as an expression of discovery. In this course, writing becomes a tool for clarifying and plumbing the inquiry that the work, itself, seeks to answer or explore. More simply put, writing will illuminate the dialogue between the artist and the work she or he creates. To do this important work, this course combines a variety free writing, metaphorical exploration, and thought experiments, constructed by the professor/author, along with selected exercises from "Mapping the Intelligence of Artistic Work", by Dr. Anne West (RISD). Through weekly writing assignments and active online discussion, students will learn to use clear, specific and simple language to question, explore, and describe the personal universe of their work.

HART685 Topics in Contemporary Art 3cr

Despite the repeated pronouncements of the 'end of painting,' painting and drawing continue to be reinvented by contemporary artists in startling new ways. This course is structured around topics of interest to practitioners whose focus is two dimensional media. Topics include abstraction art from New York School to Ross Bleckner and Jodie Manasevit; neo-expressionist and conceptual painters such as Gerhard Richter and Anselm Kiefer; figurative painters from Lucian Freud to Jenny Saville, site specific 2D practitioners from Sol LeWitt to Glexis Novoa and Lily van der Stokker.

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HART780 Benchmark 3cr

In one section of the course we will focus on our own personal history of creativity, as well as on recent theories of creativity. We will explore this topic from a practical, psychological, and philosophical point of view. In investigating individual characteristics of creativity, we will focus on creativity as an ongoing, multidimensional activity. We will also investigate the history of the specific visual language each of us has chosen to engage in. This "influence" component includes looking at the work of other contemporary practitioners. We will focus on two artists (and an architect) to begin with, in order to lay a foundation for our approach: the painters Neo Rauch and Beatriz Milhazes (and the architect Jean Nouvel.) These three artists are in different ways addressing contemporary issues. The goal for this investigation is not only to sharpen attention and critical analysis, but to build vocabulary and framework for the exploration of our own work.

MDES601 Experience Design Lab I 3cr

Experience Design Lab I serves as an introduction to Human Centered Design. Students use design thinking and practices as an interstitial element that connects business and design by combining organizational strategies and various design disciplines. They learn the basic contexts, tools, and methodologies of consumer research and learn to look beyond their own experiences and biases to empathize, understand and translate values and needs of the people and stakeholders they seek to serve, connecting the customer with the business. This course facilitates students in making human centered decisions based on qualitative research, learning how to recognize patterns and insights from data and how to begin exploring the implications of their insights within the design process. Through understanding the business and strategic implications of their design decisions, they can lead their teams to recognize social/ consumer patterns and explore those implications

Fall

MDES602 Storytelling & UX Design 3cr

This course enables students to express complex ideas and information through many narrative development techniques and communication methods, and to develop skills in user experience design. Students develop skill sets around the user experience as well as communication through visual stories. These visual stories take on many different forms including short videos, storyboarding, improvisation and presentations of user experiences. The essential communication skills as well as user experience design principles obtained in this class form the basis of the course and of subsequent design studios.

Fall

MDES603 Design Innovation Lab I 3cr

Design Innovation Lab provides students with case studies and workshops that address design and innovation. Teams of students develop and propose solutions to a variety of economic and social conditions by using design techniques such as user centered research, prototyping, critique, and

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iteration, all while integrating business metrics. Students apply both business and design principles to a studio-based project around products and services. Student teams focus on observing, understanding, and making, with quick, iterative prototyping and testing of user experiences, products and services. Teams also focus on prototyping value propositions and business models.

Fall

MDES604 Financial Managerial Accounting for Designers 3cr

In this class students develop the fundamentals of financial literacy and become intelligent users of accounting information who see accounting's relevance to design decision making in business. This course examines financial and managerial accounting and reporting with a focus on basic business practices and case studies. Students become familiar with reading financial, managerial and annual reports to recognize relevant patterns that inform design strategies, and they begin to use financial statements to assess a company's performance.

Fall

MDES605 Offsite Team Building Retreat 1cr

During the offsite team building retreat, students work in teams on leadership and supporting roles in developing and proposing solutions to a variety of social challenges. These include using a broad range of design techniques to establish a collaborative and cooperative working environment necessary for their work in the upcoming year. In retreat, student teams develop design solutions to a variety of problems and define if, when, and how to innovate, which sets the framework for organizational thinking and teamwork throughout the program

Fall

MDES611 Experience Design Lab II 3cr

In Experience Design Lab II, students continue exploring Human Centered Design by focusing on the practical applications of design research within multiple business contexts, and by refining the design of experiences established in Experience Design Lab I. Students work to understand and translate values and needs of the people and stakeholders they seek to serve and connect the customer with the business. They practice designing products, services, events, and customer journeys with a focus on the quality of the user experience, make qualitative decisions, discover relationships between elements derived from observational research, seek to recognize social/consumer patterns, and explore implications within the design process

Prerequisites: MDES601

Spring

MDES612 Integration Lab A 3cr

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Integration Lab A is a team-based innovation studio in which teams of students develop projects and solve design problems representing a diverse variety of issues. Teams develop and propose solutions to a variety of economic and social challenges using design techniques such as user centered research, prototyping, critique, iteration, and business metrics. Project teams are led by pairs of student project managers from MDES 712 Integration Lab C. The student teams define when and how to innovate, which sets the framework for organizational thinking, and present strategies for innovations around product, service, environment, system, organization or a combination of these. Team solutions are evaluated by how well the team meets user and market needs, as well as the clear business and/or organizational value of their innovations

Prerequisites: MDES602

Spring

MDES613 Business Models& Stakeholders 3cr

The purpose of this course is to examine the relationships between business models and their stakeholders, those individuals who are impacted by the design decisions. In depth case studies examine and explore these relationships. Students continue to practice empathy through research processes and techniques. In particular, this class focuses on the practical application of research within multiple business contexts.

Prerequisites: MDES603

Spring

MDES614 Brand Development 3cr

This course examines issues surrounding design and marketing in brand development through applied problems. Coursework focuses on relationships among marketing, design research, and the telling of compelling stories to connect a brand with people. Students examine branding, graphics, and research techniques through the development of product or service design solutions. Some of the benefits students receive from the successful completion of this course include learning the language and techniques of design and marketing research, and developing experiences with service design to create a memorable experience that resonates with the consumer

Prerequisites: MDES604

Spring

MDES701 Market Insight Lab I 3cr

The purpose of Market Insight Lab is to continue the exploration and practice of Human Centered Design. Students tie empathy tools and skills together with business realities through the examination of service problems and projects. Students also explore market evaluation techniques and practices

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Prerequisites: MDES611

Fall

MDES702 Integration Lab B 3cr

Integration Lab B builds on the communication skills developed in the Storytelling Studio (MDES 611) and teamwork skills from Integration Lab A (MDES 612). The course has a focus on sustainable practices in product and service design. Students examine the triad of a.) sustainable labor and community, b.) sustainable environmental practices, and c.) sustainable profits. They use a systems approach to problems and develop innovative solutions by examining case studies and designing products and services

Prerequisites: MDES612

Fall

MDES703 Thesis Project I 3cr

Thesis Project I is the first of a two-part thesis sequence that provides a directed and supportive context for students to explore strategic development of product, service, environment, system, organization, or combinations of these. In Thesis Project I, students define when and how to innovate, define their project goals, and develop content through planning, scheduling, and research. Each student leads a committee of 3 to 5 faculty, including the instructor of record, who collaboratively support project development.

Prerequisites: MDES613

Fall

MDES704 Business Plan "Sustainability" 3cr

This course addresses the intersection between business model development and sustainability. The goal of the course is to give students background knowledge and skills for developing innovations in business models that are sustainable, not only for ongoing operations, but for humanity and the global environment. Topics covered in the course are: business model innovation, social entrepreneurship, developing new products and services, sustainable organization, clean energy and leveraging local and global partnerships. The course is built around a semester-long business development project.

Prerequisites: MDES614

Fall

MDES705 Offsite Team Building Retreat 1cr

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In their second offsite team building retreat, students take on a mentoring role with first year students by developing and leading the team building retreat. Students lead the first year group in solving design projects from a range of proposed problems, developing strategies for product, service, environment, system, organization and combinations of these over the course of the retreat.

Prerequisites: MDES605

Fall

MDES711 Leadership Design Lab 3cr

The purpose of the Leadership Design Lab is to continue the exploration and practice of Human Centered Design by focusing on the qualities of decision-making and team management, and their effects on the identification of complex problems and on the execution of effective solutions to human and business realities. Students examine the qualities of creative design leadership through cases studies, and they design the leadership structure of a model organization

Prerequisites: MDES701

Spring

MDES712 Integration Lab C 3cr

Integration Lab C is a team-based innovation studio. Students take on a leadership role in developing and proposing solutions to a variety of economic and social challenges, using a broad range of design techniques as well as business metrics. Students are paired as project leaders working in teams with students in MDES 612 Integration Lab A. Students solve design projects for a variety of problems and develop strategies for production, service, environment, system, organization or a combination of these. Teams define if, when, and how to innovate, setting the framework for organizational thinking. Team solutions are evaluated by how well the team meets user and market needs, as well as the clear business and/or organizational value of their innovations.

Prerequisites: MDES702

Spring

MDES713 Thesis Project II 3cr

Building on conclusions from Thesis Project I, Thesis Project II supports students in developing and demonstrating when and how to innovate and to what benefit. Students must effectively document and design product/service solutions. Students present their final solutions formally in public exhibitions and in written documentation, including a thesis that articulates how the theories and methods employed in the project impact the current and future state of design in society. Theses are archived in the graduate design collection and MassArt Morton Godine Library

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Prerequisites: MDES703

Spring

MDES714 Organizational Behavior 3cr

This course addresses management of the organizational ecosystem from a tactical and strategic perspective, examining human behavior in organizations. The goal is to expose students to the challenges and opportunities within a corporate environment from both the new venture and large scale company perspective. Topics include organizational design, company culture, human resources, negotiation, hiring and firing, and operational budgeting. Additional topics may examine organizational development and change management. The course is case driven and includes an emphasis on in-class exercises.

Prerequisites: MDES704

Spring

MDES715 Thesis Defense 1cr

In Thesis Defense, students make a presentation of their Thesis Project. The project and its documentation are evaluated by a panel of reviewers comprised of MassArt faculty and guest critics, moderated by the coordinator of the program.

Prerequisites: MDES703

Spring

MPFV601 Major Studio-Filmmaking Sem 1 6cr

The Film/Video seminar is a critique course where the graduate student meets weekly with a Film or Video faculty to present and discuss work-in-progress. Visiting artists often participate, and have included Rebecca Baron, Yann Beauvais, Robert Beaver, Andrew Bujalski, Martha Coburn, Joe Gibbons, Jacqueline Goss, Ed Halter, Julie Heyward, Lewis Klahr, Lynne Sachs, Deborah Stratman, Elisabeth Subrin, Tracy and the Plastics and The Yes Men.

Fall

MPFV602 Major Studio-Filmmaking Sem 2 6cr

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Prerequisites: MPFV601

Spring

MPFV701 Major Studio-Filmmaking Sem 3 6cr

Prerequisites: MPFV602

Fall

MPFV702 Major Studio-Filmmaking Sem 4 6 or 9cr

Prerequisites: MPFV701

Spring

MPPH601 Major Studio-Photography Sem 1 6cr

The Graduate Major studio provides the context for graduate critique. Taught by a different faculty member each semester, this class gives graduate students the venue for thinking through their ideas, for sharing the work they produce, and for verbal participation in group critique

Fall

MPPH602 Major Studio-Photography Sem 2 6cr

Prerequisites: MPPH601

Spring

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MPPH701 Major Studio-Photography Sem 3 6cr

Prerequisites: MPPH602

Fall

MPPH702 Major Studio-Photography Sem 4 6 or 9cr

Prerequisites: MPPH701

Spring

History of Art

HART100 Introduction to Western Art 3 cr.

This course is a condensed and comprehensive introduction to the history of Western art from prehistorical times to the twenty-first century. The basic purpose of the course is three-fold: to examine a selection of the most significant monuments of creative endeavor which constitute the canon of Western art; to contextualize succinctly, with historical references and coetaneous examples in other media (especially literature), those monuments; and, finally, to engage students in the ongoing discourse which determines and revises the canon and the ways in which we see and interpret works of art.

Lecture/Seminar

All College Required Fall

HART110 Art Now 3cr

This course follows upon, and continues and expands, the work of the Western Survey; it is in fact the culmination of the first term exploration of the Western Canon, updating and globalizing the discussion. The course is collaborative, team-taught by History of Art and

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Studio faculty and visiting experts in appropriate fields, who present the material in modules, most modules comprising two lectures, given Tuesday and Thursday, with a short, vital reading assignment and an online quiz to be completed before the commencement of the next module.

Prerequisites: HART100

Lecture

Spring

HART206 Art & Revolution 3 cr.

Exploration of the cultural and artistic responses to the major modern, social and, political revolutions between the end of the 18thand 20th centuries. The focus is on rarely covered artistic responses to political, social,and religious revolutions of the 20th century. Historical, political, philosophical currents and their impact on painting, sculpture, and architecture are analyzed. Using a cross-cultural and interdisciplinary approach, the visual arts are viewed in the context of their relationships to political, social, and religious events of their representative time periods.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART207 Ancient Greek Art 3 cr.

Glory of Ancient Greece: Gods, Politics, and Art will survey the private and public art and architecture produced in Greece and its colonies in the east and west. Emphasis will be placed on the interrelationships among art, mythology, religion, athletics, and history. The class will first discuss the early periods before the people known as Greeks and continue with the formation of the Greek city- state and the rise of Athens as a cultural center of the Greek world in the mid-fifth century B.C.E. Students will then address the spread of Hellenism under Alexander the Great, and conclude with the Late Hellenistic Period shortly after Roman domination of the Mediterranean world.

Prerequisites: HART100

Lecture/Seminar

HART208 Ancient Roman Art: Politics, Propaganda, and the Decadence of Rome 3 cr.

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By the beginning of the third century CE, Rome's dominance reached to England in the north, Africa in the south, and Russia and Iraq in the east. By the late third century CE, however, the Roman Empire became unstable. How was one city able to amass such a vast territory in a relatively short period of time? What were the long-lasting effects of Rome's attempt at world domination? To help answer these questions and others, students will explore the numerous advancements made in architecture, engineering, and art during the rise and fall of the Roman Empire. Students will also become familiar with various forms of entertainment and literature that address the social, political, and religious makeup of the Roman world.

Prerequisites: HART100

Lecture/Seminar

HART209 Early Christian and Byzantine Art 3 cr.

This course will examine the visual arts of early Christianity from its roots until the fall of the Roman Empire in the Latin west in the fifth century, and will continue with an examination of the visual arts of the Roman Empire in the Greek east until the fall of Constantinople in 1453. Topics to be considered will range from whether the image of Christ might be rooted in that of Zeus or of the Roman Emperor to the role and function of icons; from iconoclasm to the art of monumental mosaics; and from cross-cultural interactions between Christian, Jewish and Islamic visual cultures to the role of visual culture in marking the development of a variety of Christian identities.

Prerequisites: Freshman Seminar

Lecture/Seminar

All College Elective

HART210 Early Medieval Art 3 cr.

A survey of art produced in early Medieval Europe, Western Asia, and North Africa, focusing on the interaction among the diverse cultural traditions of classical Rome, Byzantium, and Northern Europe from the decline of the Roman Empire through the Christianization of Europe, the advent of Islam, and the establishment of the Holy Roman Empire under Charlemagne. Emphasis will be on wall painting, manuscript illumination, stone sculpture, and portable metalwork objects.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART212 Medieval Castles and Cathedrals 3 cr.

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A survey of major monuments of European architecture from the Early Christian era through the Gothic style, including both religious and secular buildings. Elements of structure, and design sources and processes, will be considered alongside the function and reception of different buildings and building types. The class will also explore the place of architecture in urban and rural settings, the importance of pilgrimage and Crusading for the transmission of ideas, and the translation of monastic ideals into buildings.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART214 The Gothic Image 3cr

An examination of the images produced in Europe between about 1150 and 1400 in sculpture, stained glass, wall painting, manuscript illumination, and precious metalwork. Materials, techniques, workshop practices, and patronage will all be studied with an eye to understanding the subject matter, function, and visual effects of works of art in both their original contexts and subsequent history.

Prerequisites: HART-100

Lecture

Fall and Spring

HART216 Art of the African Atlantic World 3cr

Caribbean scholar Édouard Glissant has described the violence of the Atlantic slave trade and European colonialization as "the point of entanglement" between disparate peoples on opposite sides of the Atlantic Ocean. This course seeks to pull a thread from this tangled web of history, considering the artistic production of the "African Diaspora," African-descended peoples across the Atlantic World. Over the course of the semester, we will consider transatlantic circuits of artistic development and exchange, looking to diverse cross-section of African-Diasporic "material culture." Fine arts, crafts, fashion, performance, and ritual will provide fertile points of inquiry to consider themes such as

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colonial encounter, creolization, representation, slavery, revolution, gender, and identity. In addition, questions of representation, inclusion, and erasure within the canon of Western Art will be addressed. Because this course is cross-temporal and transnational in scope, our course content will be fluid and mosaic, much as the Atlantic World constitutes an aqueous continent encompassing a multitude of interconnected peoples, geographies, and narratives.

Prerequisites: HART-100

LEC

Spring

HART217 Printmaking Empires: Print Culture in The United States, the Americas, and the Caribbean 3cr

"Printmaking Empires: Print Culture in the United States, the Americas, and the Caribbean In the nineteenth century, an explosion of images swept the Americas. Facilitated by advancements in printmaking technologies, these images "conquered" the hemisphere, often functioning to disseminate colonial and imperialist ideologies that advanced the ambitions of various political entities over the course of the century. This class will consider the various ways these images produced meanings in the Americas, looking primarily to the United States, Latin America, and the Caribbean. The nineteenth century was a volatile and formative period, producing standards, tropes, and ideas that continue to manifest in our own times. In particular, the rise of powerful artistic institutions combined with the emergence of mass consumer culture produced a plethora of visual imagery that documented every aspect of modern life. A close consideration of these images can potentially illuminate negative modes of representation that persist in contemporary discourses. By investigating common symbols, icons, devices, and tropes of this period, I hope

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that students will leave this class with improved "visual literacy," the ability to "read" images, both historical and contemporary, in a critical fashion. Additionally, working closely with the Printmaking Department at the Massachusetts College of Art and Design, students will become conversant in the history of printmaking and printmaking techniques. "

Prerequisites: HART100

Lecture

Fall

HART222 Artistic Personality in the Renaissance I: The Early Renaissance 3 cr.

Students undertake an investigation of Italian art in the fourteenth and fifteenth centuries. Students will concentrate onthose artists whose works signal the transition from the Early to the High Renaissance, a brief period when Western culture finds a spectacular climax in the artistic productions of Florence, Rome and Venice, and when such work comes to be known, imported, emulated and revered throughout Western Europe and beyond. Primary sources, and above all the artistic biographies of Giorgio Vasari, will be complemented by modern and contemporary scholastic commentaries. Artists include Giotto, Duccio, Masaccio, Brunelleschi, Alberti, Donatello.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART223 Artistic Personality in the Renaissance II: High Renaissance 3 cr.

Students undertake a detailed examination of the High Renaissance, the supreme moment of artistic achievement in the late fifteenth and early sixteenth centuries. Primary sources, and above all the artistic biographies of Giorgio Vasari, will be complemented by modern and contemporary scholastic

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commentaries. Artists include Botticelli, Leonardo, Michelangelo, Bramante, Raphael, the Bellini, Giorgione, Titian.

(Please note: It is NOT necessary for students to have taken HART 222 in order to take this course.)

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART226 Northern Renaissance Art 3 cr.

This course explores the art of the Netherlands, France, England, Bohemia, and Germany between about 1350 and 1560, focusing on the development of panel painting and portraiture, and on changes in subject matter, patronage, and the artist's practice related to the Protestant Reformation. Modern debates about interpretation and the revelations of recent technical analyses will be brought to bear on the works of Claus Sluter, Jan Van Eyck, Rogier van der Weyden, Petrus Christus, Hieronymous Bosch, Pieter Brughel, Albrecht Durer, Hans Holbein, and others.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART227 An Introduction to Historic Preservation 3cr

Often misunderstood and occasionally maligned, historic preservation is an increasingly important profession in the United States and abroad. Encompassing an array of disciplines-from architectural history to conservation, museum work to planning-historic preservation is, broadly speaking, devoted to the preservation and/or management of the built/human-shaped environment. The professionalization of the field in the United States occurred largely in response to cultural shifts and major government initiatives like urban renewal in the decades following the Second World War, a result of a growing awareness among citizens, institutions, and governments that as our society grows and changes, consideration should be made for impacts of those changes on historic resources. The course begins with a survey of American architectural history for background/context, then introduces students to the history of the field with a focus on core issues and philosophies, followed by an introduction to preservation planning, including a look at some of the work preservation professionals undertake. The final few classes look at preservation internationally and consider some of the possible directions the field is heading.

Prerequisites: HART-100

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Fall and Spring

HART231 American Art and Visual Culture, 1600 to the present 3 cr.

A survey of American painting, architecture, sculpture, prints and photography from 1600 to the present, covering a wide range of movements including Early American Art, Native American Art, Civil War era photography, Gilded Age painting and architecture, the Ashcan School, Early American Modernism, Regionalism, Surrealism, and Abstract Expressionism. The course will include visits to local museums and institutions that house some of the finest collections of American art in the country, including the Isabella Stewart Gardner Museum, the Museum of Fine Arts, Boston, and the Fogg Museum. We will examine style, technique, and iconography in their historical and cultural contexts, considering the political, social, and intellectual climates articulated in the arts, including systems of patronage and public reception.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART240 Art and Archeology of Ancient Mesoamerica 3 cr.

Students explore the arts and cultures of the Aztec, Maya and other ancient civilizations of Mexico and Guatemala from 3000 B.C. to the Spanish Conquest of 1521. Special emphasis is given to the formation of religious ideologies and to the processes of urbanization and state development and decline. The legacy of ancient Mesoamerica in modern and contemporary art and culture in the Americas also will be addressed.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART252 Survey of Japanese Art 3 cr.

Japanese culture has been taking and transforming diverse cultural elements from various traditions into its own. The unique art of Japan continues to inspire modern artists. This class is designed as a basic introduction to Japanese art from antiquity to the modern era. It is a chronologically organized survey of the canon of Japanese art, including ceramics, architecture, sculpture, painting, woodblock prints, and religious art. We will analyze the works of art and place the art in historical and social context. We examine how this unique tradition develops and changes through the ages and how this tradition interacts with other traditions of art.

Prerequisites: HART100

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Lecture/Seminar

All College Elective

HART270 Modernism in European Visual Culture, 1886-1936 3 cr.

This surveys major movements and theories of modernism in the European visual arts from the end of the nineteenth century to the 1930s.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART273 American Architecture: From Thomas Jefferson to Frank Gehry 3 cr.

This course will trace the evolution of American architecture from the country's earliest days to recent years. It will explore how national identity, landscape, and history have factored into the creation of a uniquely American architectural dialogue. The course will engage primary source texts and local sites to illustrate the nuances of important themes.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART274 Early American Art 3 cr.

This course will focus on art and architecture in colonial and early America beginning with Native American Art up to the early nineteenth century, including artists such as John Singleton Copley, Joshua Johnston, Charles Willson Peale, Rembrandt Peale, Paul Revere, Gilbert Stuart John Trumbull, John Vanderlyn. The course will examine American art, architecture, decorative arts and visual culture from the period c. 1600 to c. 1825 from a variety of perspectives. This course will have at its center the question of how we read/should read works of art, and thus the varied course readings will range from traditional to more recent and even controversial methodological frameworks.

Prerequisites: HART100

Lecture/Seminar

HART280 Art Since 1945 3 cr.

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In this course we analyze several individual practices and group movements from 1945 to the present. Instead of adhering to the distilled summaries of a textbook, we engage art of this period at less of a remove. Students come to comprehend the difficulty and subjectivity involved in formulating a history of art by struggling to grasp one viewpoint, and then by considering similarities, differences, and distinctions of degree between it and other viewpoints. Through this firsthand experience, students weave together an understanding of art history that acknowledges the true variety and complexity of art at any given moment in the second half of the twentieth century and the first decades of the twenty-first.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART281 Art After Modernism 3cr

"Modernism" comprises images, objects, acts, performances, and so on that derive from an artist's experimentation with the inherent properties of a given medium. Art after modernism (sometimes called "postmodern") tends to expand upon the technical, material, and intellectual foundations of modernism while also investigating identity and personal narrative; political ambiguity and complicity; institutional critique; the imagery of commerce; and mechanisms of the artworld and other phenomena from culture at large. This development amounts to both an extension and a rejection of modernist principles, and we will aim to understand this complexity in recent art.

Prerequisites: HART100

Spring

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HART283 Russian Modernism 3 cr.

A survey of modern art and architecture in Russia from the beginning of the twentieth century. The course will explore issues of national identity and cultural autonomy that informed the emergence of modernism; the postcolonial relationship to European art; the tension between nationalism and internationalism, and how the experiences of exile and diaspora affect these feelings and the artistic expressions thereof; how artists respond to forces such as imperialism, authoritarianism, and revolution; and how globalizing and transnational social, economic and political processes call into question the notion of Russian art. (Formerly "Twentieth Century Russian Art")

Prerequisites: HART100

Lecture

Fall and Spring

HART284 Moving Pictures: Visual Language of Narrative Cinema: Techniques and Traditions 3 cr.

Concentrating on the visual language of film, this course will consider the pictorial traditions upon which the new medium draws, and out of which, to some extent, it can be said to grow. We will compare the composition of the standard modules of cinema, the shot and the scene, with precedents drawn from Western art history, from Greek vase paintings to Renaissance fresco cycles and nineteenth-century English narrative pictures. We will simultaneously consider what is unique to the new medium. Weekly examinations of film clips in order to illustrate traditional and non-traditional visual techniques of cinematic narrative will be complemented by wide-ranging readings and regular viewing and reviewing of full-length films. Following a brief history of the medium before the Second World War, we will identify and examine many of the traditional ways in which cinematic artists compose their visual narratives. We will then undertake an in-depth study of some of the major works of cinema since 1945, including films by Rossellini, Bresson, Hitchcock, the French New Wave directors and those of Das Neue Kino in Germany, and the American Independents.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART285 History of Photography 3 cr.

An introduction to the history of photography from the inventions of Daguerre and Fox Talbot to the twentieth century masters. The course addresses problems and issues arising from the different techniques of, and the interrelationships between, art, photography, science, and society.

Prerequisites: HART100

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Lecture/Seminar

All College Elective

HART286 Modern Architecture 3 cr.

An investigation of the designed and built environment, from the end of the nineteenth century to the present day. This course examines the influence of technology, aesthetics, politics, social history and economics on modern architecture and urban planning, including the Chicago School, Art Nouveau, international modernism of the 1920s to the 1960s, Post-Modernism, Deconstructivism and worldwide contemporary theory and practice.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART288 Comics: History & Theory 3cr

Comics: History and Theory is a broad survey course on the history and theory of comics, from the beginnings to the present, that deals with American, European, and Japanese comics. This course provides students with a broad overview of the history of the medium as well as the tools to analyze and compare comics in terms of narrative techniques, combination of text and visuals, style, and content. The course assignments are designed to integrate the two main tracks of the course: history and theory. Students will situate comics within the context of the major genres

(from super heroes, underground comics, graphic novels/memoirs, to manga and European comics), and within the broader context of the history of the medium. The course will also deal with social issues related to the making and reading of comics, and how these are reflected in comics.

Prerequisites: HART-100

LEC

Instructor's Discretion

HART289 History of Sound Art

What is Sound Art? Imagine mind-bending sound pieces using nothing but the echo of a space, vegetable instruments that turn into soup, a

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"Sound Chair" that propels you through the room, and meditations that reveal sounds in daily life that you never dreamed were there. The course will provide a solid knowledge of sound history and basic acoustic principals, and examine works by artists who have blurred traditional boundaries between music and other disciplines such as science, design, visual arts and philosophy. This is an ideal course for artists engaged in multi-media work that includes sound (i.e., video, film, animation, installation, performance art, circuit-bending) and people interested in experimental music of any genre. No previous experience with sound or music needed.

Prerequisites: HART100

Lecture

Spring

HART294 Fashion History I 3cr

This survey course will introduce students to fashions from the 18th through the early 21st centuries. It will address the phenomenon of increasingly changing styles, and connect fashion with concurrent art movements and social developments. Students will make frequent visits to the Museum of Fine Arts to examine historic garments and contextual art works, developing critical "seeing" and thinking. In-class discussions will explore fashion from multiple perspectives, taking into account issues of ethnicity, class, and gender. By the end of the course, students will be able to identify stylistic developments over three centuries, and understand fashion as an art form.

Important themes to be covered:

- Influences of contemporary art and design movements

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- Impact of politics and society on fashion

- Emergence of the haute couture fashion system in Paris

- Development of the primacy of the couturier/designer

- Impact of technological advances and development of ready-to-wear

- Democratization of fashion in the late 20c.

Prerequisites: HART100

Lecture

Fall and Spring

HART295 Design History 3cr

This course approaches design as a tactile and material encounter where social, cultural, economic, political, technological and aesthetic forces converge. Our job will be to identify where and when coffee cups and forks, lp and cd covers, bicycles and automobiles, lighting and seating, screensavers and shopping bags-things usually considered within the scope of "material culture"-are culturally loaded. When looking at "classic" epicenters of innovation such as the Eames Office, creative consumption such as DIY production, and the global flow of materials and products, our concern will be design in an international contemporary context.

Prerequisites: HART100

Lecture

Fall

HART296 Modern + Contemporary Latin American Art 3cr

This is an introductory course to the art and visual culture of Latin America from the pre-conquest era to the present. After a survey of pre-conquest cultures, our focus shifts to Spanish and Portuguese colonial art, then to art of the independence era in the first half of the nineteenth century, the rise of modernism across Latin America in the 1920s, and finally, contemporary Latin American and Latino American art, including Chicano American art. [Formerly titled Latin American Art]

Prerequisites: HART-100

Lecture

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Fall

HART297 Roots/Design History 1650-1920 3cr

This course examines the history of designed objects, largely furnishings, inclusive of industrial design and graphic design, handicraft and automation. The industrial revolution changed the domestic sphere as much as the conditions of labor. The increase in mass- produced and accessible goods (and in ownership) is often referred to in shorthand as 'democratization' and as a characteristic component of the American experience. IKEA and Philippe Starck employ the phrase 'democratic design' and DIY practitioners use it to stake out their independence from corporations. Can we also use this perspective to evaluate the proliferation of such things as newspapers, clocks, mantelpiece statuary, chairs, ice cream bowls and sardine forks between 1650 and 1920? (Formerly American Design, 1650- 1920)

Prerequisites: HART100

Lecture

Spring

HART300 Art of Ancient Iraq 3 cr

The arts of the ancient Sumerian, Babylonian, and Assyrian cultures of Mesopotamia (Iraq) from the eighth millennium BC through the fall of the Babylonian Empire in 539 BC. Emphasis is on the interpretation of art objects as evidence for such historical, social, and cultural developments as urbanism, social stratification, the institutionalization of religion, imperialism, and international commerce.

Prerequisites: HART100

Fall Only

HART301 Art of Ancient Egypt 3 cr.

Survey of the visual culture of ancient Egypt from the Predynastic period (ca. 5000 B.C.) until the end of the New Kingdom (ca. 1000 B.C.). Emphasis is on major examples of architecture, sculpture, and painting

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viewed in their historical, political, social, economic, and religious contexts. The class looks at the methods and goals of archaeological work in Egypt and how these have shaped contemporary views of the ancient culture.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART305 The Body Politic in American Art to 1876 3cr

This course examines how representations in art and visual culture were tools with which individuals learned to think of themselves as American, from the Colonial era to the late 19th century.Considering how class, race, gender, and models of physical health and fitness were rendered visible to widely-dispersed viewers, we attend to the 'body' in the body politic. We examine how the self, both externalized and internalized, was understood as essential to American identity, and mapped onto emerging concepts of a democratic society. Throughout the class, we will question what it means to be 'American,' and consider the ways in which issues important in the development of 19thcentury art remain significant to artists today.

Prerequisites: HART-100

Lecture

Spring

HART306 Art and Symbolism in Rituals And Festivals 3cr

Dramatic rituals, ceremonies, and celebrations are pervasive in social life, but what are they doing and what do they mean? This course explores how such cultural enactments use art and artifacts to present and structure people's perceptions of reality. We will consider how the

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symbolic behavior of rituals and festivals contributes to the individual and collective negotiation and enactment of ethnic, gender, religious, and national identities. On one hand, we will look at how art in ritualized performances function to articulate, maintain, and legitimize particular cultural institutions, world views, and ideals about consensus and order. At the same time, we will also analyze customary rites and festivals as arenas where authority and resistance, memories and counter memories sometimes collide in controversy and contestation. We will draw on analytic perspectives from psychology, religious studies, anthropology, sociology, history, art history, and folkloristics to examine the artistic aesthetic expression in a range of religious and secular rituals and celebrations including rites of passage, seasonal festivals, national holidays, and public protests. Issues of cultural representation and preservation, cultural appropriation and commodification, and cultural tourism will also be considered, particularly in regard to how they relate to the tensions that emerge when traditional cultural practices come into contact with modernity and commercialized cultural industries. We will consider such topics as masking and mumming traditions in Ireland, Japan, and the Caribbean;

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the sacred art of Haitian Vodou, Mardi Gras

Indians in New Orleans, the Italian-American

Giglio festival, Day of the Dead celebrations in

Mexico and the U.S., spontaneous memorials related to 9/11, and protest art used in various demonstrations.

Prerequisites: HART-100

Lecture

Spring

HART307 The Banjo As American Material Culture 3cr

Might an understanding of this musical instrument expose the American psyche more fully than a gallery of paintings or book of laws? The Americanized African instrument remains a potent icon today and we will explore its varieties of mythic and material reincarnations, contextualizing it in historical studies of labor, race, class, gender, technology and musicology. Taken with Sculpture 3DS "The Banjo Project" -they are co-requisites

Prerequisites: HART-100 Co-requisites: 3DTD-The Banjo Project

Seminar

Fall

HART311 Materials and Methods in Medieval Art 3 cr.

This course will examine the broad range of materials used to create works of art during the Middle Ages, the techniques used and the thinking that underpinned medieval ideas about artists, art works and the process of artistic creation. Attention will be given to a variety of artistic media produced during the Middle Ages from monumental architecture, stone sculpture and wall painting, to manuscript illumination, textiles and metal work.

Prerequisites: HART100

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Lecture/Seminar

HART314 Climate Change in Contemporary Art 3cr

In this class you will study contemporary artists working with the new conditions of social and cultural experience caused by climate change. We begin with readings by a historian and writer to learn about the implications of climate change for long standing ideas of man's relation to nature. Following these readings are art historical interpretations of contemporary eco-artists in relation to precedents in land art, performance, activist art, and photography. The concluding readings of the course explore new ways of thinking about human relations to non-human animals and materials. Visiting lectures by an art historian and an artist will be opportunities to ask questions about their ideas and practices. We will take a field trip to a sound art project at the Arnold Arboretum to experience this site, and reflect upon how an artist and botanist worked collaboratively to produce it. One aim for this class is for you to use the research you do for this course, particularly for your paper, to develop a resource for the MassArt community on climate change issues in contemporary art and design: we will work as a group to set up a web site and/or a print publication.

Prerequisites: HART100

Lecture

Spring

HART320 Villas and Gardens of the Italian Renaissance 3 cr.

An investigation of the architecture of leisure in Renaissance Italy, from the early Humanist villas of the powerful Medici family to the farm-villa complexes designed by Palladio in the sixteenth century. Gardens and villas are considered in their role as purveyors of the economic, social and political power of the elite, and in relation to ancient literary and archeological sources and Renaissance design theory.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART325 Palaces,Pavilions and Gardens 3cr.

Much of Islamic art is inspired by ideas of paradise. This course will explore the image of paradise and its models in Islamic arts from the 8th through 18th centuries. Islamic palace and garden complexes such as the Alhambra, the Taj Mahal, Topkapi, and others will be examined, as well as paradisical themes in Islamic portable arts, color theory, and abstract geometries. The historical origins of Muslim paradise iconography will be investigated, including the role of Qur'anic and other early Islamic texts, and the ancient garden traditions of Persia, Rome, and Byzantium.

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Prerequisites: HART100

Undergraduate Elective Spring

HART337 Folk Art,Folk Craft 3cr

This course introduces major analytic approaches and issues in the study of traditional expressive behavior that employs artifacts. The class explores how cultural groups use material expression to articulate worldview, values, and social relations, and considers such diverse forms of folk art as the scrimshaw carved by whalers, gravestones in Colonial New England, Hmong storycloths, Hopi Katsina, graffiti around the world, and Samoan tattooing.

Prerequisites: HART-100

Lecture

Fall and Spring

HART340 Maya Art and Archaeology 3 cr.

An intensive study of the ancient Maya of Mexico and Guatemala, creators of magnificent sculpture, architecture, painting and ceramics. Students will examine the origins of the Maya, their calendars, writing and artistic traditions, trace the history of the major Maya cities and investigate the decline of Classic Maya art and civilization. The course concludes with the study of modern Maya culture and political issues.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART346 Australian Art 3 cr.

This course will examine aspects of visual art and architecture produced on the Australian continent before, during and after the colonial era. In addition to questions of style, meaning and technique, attention will be placed on the question of identity: what do terms such as Australian, Aboriginal, western, non-western mean in the context of contemporary Australia, its history and artistic culture.

Prerequisites: HART100

Lecture/Seminar

HART347 Renaissance Splendor: Art & Architecture of Venice and the Veneto 3 cr

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An on-site, comprehensive examination of the painting, sculpture and architecture produced during the Golden Age of Venice, the Veneto and southern Lombardy, 1200-1800. There will be a classroom component at MassArt, in which students will discuss relevant art historical texts and learn conversational Italian. Beginning with a week-long stay in the great city itself, we will study the evolution of Venetian culture from its origins as an outpost of the Byzantine Empire to its rise as the greatest and most enduring republic the world has ever known, as well as one of the richest and most magnetic artistic centers in Europe. After seven days in Venice, we will leave for Mantua, stopping first in the foothills of the Alps to view Palladio's Villa Barbaro, and then at Padua to view the frescoes by Giotto in the Arena Chapel, which for many mark the beginning of the Renaissance. In Mantua we will study the architecture of Alberti, the frescoes by Mantegna in the Ducal Palace, and finally, the tour-de-force of Renaissance pleasure construction, Giulio Romano's Palazzo Te. SEE TRAVEL COURSE SECTION FOR OFFICIAL REGISTRATION PROCEDURES. TRAVEL TO ITALY REQUIRED.

Prerequisites: HART100

HART355 Survey of Chinese Art 3 cr.

The long tradition of Chinese art is an important part of human aesthetic experience and a part of the cultural heritage of every modern woman and man in the global family. This class is a chronologically organized survey of the canon of Chinese art, including ceramic, jade, bronze, sculpture, architecture, garden, furniture, calligraphy, painting, and religious art. This survey is meant to provide a historical perspective on the works of art in their historical and social context over the centuries in China and to introduce the students to a repertoire of usable methods of approach to art. The concept of "China" itself is culturally constructed. Students in this class will be asked to think and examine critically how the works of art under the label "Chinese". constitute a special tradition and how this tradition develops, changes, and interacts with other traditions of art through the ages.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART373 Architecture of Boston 3 cr.

This course explores Boston's architectural landscape from pre-Colonial times to the twenty-first century. We identify the local geographical, industrial, cultural, social, and economic factors that uniquely shaped Boston's development, and will situate the city's growth within the context of larger national trends. Topics include individual neighborhoods, local styles and revivals, as well as individual architects that shaped the city, from Charles Bulfinch, H.H. Richardson, and Frederick Law Olmsted to Anne Spirn, Don Stull, and Meejin Yoon. Walking tours and on-site drawings sessions complement classroom learning.

Prerequisites: HART100

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Lecture/Seminar

HART375 Landscape: Space and Place in Art 1600-2000 3 cr.

Focusing on how artists have engaged with their environment from the eighteenth century through the twentieth, this class will subject the subject matter of landscape to close scrutiny. This class will look at parallel developments in Europe and America, and will consider how various stylistic movements in eighteenth, nineteenth and twentieth century painting, as well as photography, graphic arts and even sculpture have reacted to the significance of space and place, and humankind's impact on the land. Through regular reading assignments, student presentations and research projects, students will track their own relationship to the land, the city and the environment in which we live.

Prerequisites: HART100

Lecture/Seminar

All College Elective

HART390 Feminism and Art History 3cr

The feminist movement of the 1960s and '70s raised questions for both artists and art historians about the absence of women in the canon of art history. Scholars and artists first set out to retrieve the stories of unsung heroines of the past, and to probe the nature of female creativity and artistic identity. These early efforts led to a deeper understanding of the effect of socially accepted gender roles on art production as well as reception. The development of feminist critical theory has changed the way we look at art history, not only from the perspective of gender identity, but also with an awareness of the ways that art reflects attitudes toward race, religion, and social status. This course will follow the trajectory of feminist art history and criticism as it has expanded from the first inquiries of the 1970s and enriched the stories we tell about art in the past and the present.

Prerequisites: HART-100

Lecture

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Fall

HART400 Directed Study in Art History 3 cr.

Directed Study is designed to provide students with the opportunity to pursue an independent art area. Typically, the end result of this project would be a research paper of 30 plus pages, or the equivalent, as agreed upon by the faculty member supervising the project. A Directed Study is a 3-credit course. Because of their advanced nature, Directed Studies courses are open only to seniors, and are limited to one per semester. No more than two Directed Studies may be counted toward degree requirements. You must fill out and return a Directed Study form with a complete description of the project including a bibliography, and a description of the final project. You must also register for the Directed Study.

Prerequisites: By Permission of Instructor

Fall/Spring

HART403 Archaeological Theory and Practice 3 cr.

An introduction to applied archaeology as a preparation for participation in an archeological excavation. Investigation of archeological theory including history, purposes, goals, and ethics of excavation.

Prerequisites: HART100 and any 200 or 300 level HART course

Lecture/Seminar

All College Elective

HART404 Protection of Cultural Heritage 3 cr.

Examination of the forces that threaten the world's shared artistic, architectural, and archaeological heritage, and discussion of the practical and theoretical responses to deal with these threats. Class readings and discussion will focus on threats from looting, collecting, museums, and armed conflict. For Art History majors only.

Prerequisites: HART100 and any 200 or 300 level HART course

Departmental Elective

HART407 Curatorship and Art Historiography 3cr

The expertise in the fields of art, history of art, archaeology, anthropology, science, and/or classics enable curators to perform their broad-ranging, multifaceted jobs as

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specialists/scholars, conservators & managers & archivists of material & digital museum collections, monitors of archeological work & contract, connoisseurs of artworks and cultural products, interpreters of cultural (& natural) heritage, producers and designers of actual & virtual exhibitions, organizers of symposia, authors / editors / publishers of scholarly and popular catalogs / books / websites, and ambassadors of cultures. Some even regard curating as a medium of artistic practice. Very often, curators' work is interactively engaging and entangled with the important sociopolitical, and ethical & legal issues of our society, inviting experts and the public with different perspectives to participate the dynamic culture of curating and to scrutinize, debate, and reflect on our views, actions, and policies. The roles of curators evolve alongside the evolving scholarship, the changing technology, and the roles of museums. This seminar is to discuss the interrelationships between curatorship and art historiography.

Prerequisites: HART 100 and any 200 or 300 level HART course.

Seminar

Instructor's Discretion

HART408 Stained Glass: Histories, Contexts, Interpretations 3cr

This advanced seminar in the history of art is an

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in-depth exploration of the medium of stained glass and its long life, from its medieval origins to modern collecting, revival, and conservation. Stained glass was an integral component of medieval religious buildings and remains an object of fascination and interpretation in the modern era. The class will take the greatest possible advantage of old and new stained glass in local collections and churches to gain a first-hand understanding of the medium. Course work includes weekly reading, writing, and discussion of current professional scholarship in the field, and a guided independent research project.

Prerequisites: HART-100 and any 200 or 300 level HART course.

Seminar

Fall

HART409 Intro to Art Conservation 3cr

This course will provide an introduction to the field of art conservation and the preservation of cultural heritage. Students will gain an understanding of the principles and ethics of conservation as well as preventive conservation and the proper handling of artifacts. Lecture topics will include materials and methods of manufacture, deterioration processes, treatments and the role of science and analytical techniques in conservation. Case studies will be used to illustrate these topics where possible. The instructor will draw upon the rich network of local colleagues and labs for guest speakers and site visits. Students will produce an examination and condition report on an assigned object and present their work in an oral presentation at the end of the semester.

Prerequisites: HART100

Lecture

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Fall and Spring

HART440 Seminar: When Worlds Collide: Aztecs at the Conquest and Beyond 3 cr.

The 1521 Spanish conquest of the Aztec of Mexico forged a new world from a monumental collision of religions, philosophies and visual cultures. Through critical reading, research and oral and written presentation of 10-12 page papers, students in this seminar explore the power and paradoxes of Aztec civilization before and in the wake of conquest through examination of Aztec art and documentary sources including pictorial manuscripts and codices, sculpture, painting and architecture. Students also analyze first-hand accounts, memoirs and philosophical treatises recording Spanish conquistadors' and clergies' ambivalent responses to Aztec culture, to its sophistication and to its seeming barbarity. The influence of Aztec art on modernism in Mexico, North America and Europe also will be a focus of student discussion and research.

Prerequisites: HART100 and any 200 or 300 level HART course; Art of Mesoamerica and/or Maya Art &Architecture (recommended, not required)

Lecture/Seminar

All College Elective

HART455 Cultural Crossings: China and Japan after 1840 3 cr.

This seminar is a critical examination of the visual cultures created in China and Japan after the events of the Opium War and Matthew Perry encounters. The visual cultural crossing between the West and East and between China and Japan is an important part of the developing inter-civilizations in the global age.

Prerequisites: HART100 and any 200 or 300 level HART course

Lecture/Seminar

All College Elective

HART490 The Methodologies of the History of Art 3 cr.

This seminar explores the different ways of seeing, thinking, and writing about art and the history of art. Topics include: art historical narratives, history of form and style, iconology, psychology and art, biography and autobiography of artists, sociopolitical histories of art, gendered histories of art, semiotics--- structuralism and deconstruction, post-colonialism, and museology. Students are exposed to the problems of why art changes over time, the hermeneutic challenge to interpret the meaning of arts of various cultures, and how art historians' own perspectives shape the narratives of the history of art.

Prerequisites: HART100 and any 200 or 300 level HART course

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Lecture/Seminar

All College Elective

Illustration

CDIL205 Media Techniques 3 cr.

An introduction to the practical application of a range of Illustration materials with a focus on water- based paint media. Through demonstrations, in-class exercises and comparative assignments, students build technical skills and increase knowledge of color in applied problems.

Prerequisites: SFDN181, SFDN185

Hybrid Studio/Critique

Departmental Requirement Fall & Spring

CDIL208 Digital Illustration 3 cr.

This course explores digital imaging using scanners, drawing tablets, digital cameras, Photoshop and Illustrator for the Macintosh. Concept-driven assignments have strong drawing components.

Prerequisites: SFDN181, SFDN185

Hybrid Studio/Critique

Departmental Requirement Fall/Spring

CDIL211 Human Figure in Illustration 3 cr.

By drawing the human figure in a variety of situations, students explore basic anatomy. Assignments include use of figure or anatomical drawing in professional practice situations.

Prerequisites: SFDN181, SFDN185

Hybrid Studio/Critique

Departmental Requirement Fall/Spring

CDIL214 Drawing: Observation to Concept 3 cr.

The course stresses the process of working with dry media techniques (graphite, pastel, colored pencil. scratchboard) basic drawing skills, and2D principles to render concepts. Visual, metaphors are explored

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by manipulating the contexts and relationships of objects and figures.

Prerequisites: SFDN181 and SFDN185

Critique

Departmental Elective Fall/Spring

CDIL215 Sophomore Illustration 3 cr.

An introduction to professional illustration with emphasis on drawing and painting from observation. Assignments will introduce students to a variety of illustration venues including book, editorial, and product illustration while exploring the visual methods of color and composition as precise visual tools.

Prerequisites: Take 9 credits from CDIL-205, CDIL-20, CDIL-211 CDIL-214, CDIL-216

Hybrid Studio/Critique

Departmental Requirement Spring

CDIL216 Color for Illustrators 3 cr.

Color is a powerful aspect of an illustrator's education. In response to this assertion, this studio course draws upon the understanding of color theory -though the steadfast focus remains on practical application, on tutoring intuition, heightening awareness, and refining skill. Through a practical exploration of theoretical/conceptual issues, students investigate the complexity and interrelatedness of elements of color - its perceptual, emotional/psychological, technical and aesthetic aspects. Students are required to complete a series of studio projects emphasizing the informed intuitive awareness, creative use, and practical application of color as a formal means of visual communication and expression for storytelling.

Prerequisites: SFDN181 and SFDN185

Hybrid Studio/Critique

Departmental Requirement Fall/Spring

CDIL302 Narrative Illustration 3 cr.

An exploration of the storytelling power of illustration. Emphasis is on the research and drawing skills needed to develop strong characters in sequential imagery. Students work in a variety of media, both traditional and digital. The course also examines historical and emerging trends in the business of children's books, textbooks, book covers, artists' books, and graphic novels.

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Prerequisites: CDIL215 or permission of instructor

Critique

All College Elective

CDIL303 Watercolor 3 cr.

An exploration of watercolor as a medium for illustration. Emphasis is on value, light, and applied color theory, working toward an evocative and personal palette. Work of historical and contemporary illustrators is discussed.

Prerequisites: CDIL215 or permission of instructor

Critique

Departmental Elective

CDIL304 Advanced Drawing Projects for Illustrators 3 cr.

The course is a continuing deep investigation into informed drawing. Focus is on drawing as a way of understanding objects, figures, animals, and place in terms of physicality, substance, and subjective response. The practice of drawing is explored as means for research, inspiration, and expression. A series of open-ended topics will be approached individually and idiosyncratically, with the goal of producing a series of rendered essays which inform, reveal, report, and narrate.

Prerequisites: CDIL205, CDIL208, CDIL211,CDIL214, CDIL215, CDIL216

Critique

Departmental Requirement Fall & Spring

CDIL305 Word and Image 3 cr.

Exploration of letterforms as pictures and pictures as symbols. Typography, the language of designers and art directors, is examined by studying the history and development of fonts and letterforms. Progressively challenging assignments use words and text as pictorial elements in illustrations to strengthen and reinforce concepts.

Prerequisites: CDIL205, CDIL208, CDIL211,CDIL214, CDIL215, CDIL216

Critique

Departmental Requirement Fall & Spring

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CDIL308 Painting for Illustrators 3 cr.

This studio course explores various techniques using watercolor, gouache, acrylics, oil and mixed media in the development of advanced drawing and painting skills as they apply to illustration. The effective use of color will be a primary consideration in all assignments and exercises. Students work in class on painting and drawing skills through still life, landscape and figure studies.

Prerequisites: CDIL215 or Permission of Instructor

Hybrid Studio/Critique

Departmental Elective

CDIL309 Digital Painting and Techniques 3 cr.

This class will use software to apply traditional painting and drawing techniques in a digital format. The students will also have the opportunity to reinforce certain traditional aesthetic values in the creation of a digital painting. Students are encouraged to work as much as possible with their own images and references and to use traditional drawings and utilize found textures. They will be encouraged to use the program to experiment stylistically. This is an advanced course and a basic knowledge of Photoshop and its tools are required.

Prerequisites: Take CDIL-205 CDIL-208 CDIL-211 CDIL-214 CDIL-215 CDIL-216

Critique

Departmental Elective

CDIL313 Experimental Illustration Techniques 3 cr.

Students explore a variety of experimental techniques that push the boundaries of the 2D/3D plane. By looking at the work of mixed media artists of the past and present this class will investigate the possibilities of alternative image making. As the semester progresses these experiments develop into more advanced conceptual pieces over multiple weeks. Some of the techniques covered in the course: various media transfers, collage and layering techniques, various distressing techniques, screen printing, working with found objects, working with 3D objects and photographing your 3D pieces. Basic drawing skills and being open to experimentation are required.

Prerequisites: Open to Juniors and Seniors

Critique

Undergraduate Elective Fall and Spring

CDIL314 Book Arts 3 cr.

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Students will explore bookbinding techniques for various adhesive and non-adhesive book structures, as well as a range of spine structures: sewn, concertina, leperello, wrapped, stabbed, coptic. Methods for creating the student's own cover papers will be demonstrated and explored. Students will design and create an illuminated trilogy using three different book structures, and design and build a container to hold these. Illumination media may be simple relief printing, painting, drawing, collage, stenciling, or photography, and incorporated text may be self generated or borrowed prose, poetry, lyrics, or dialog. Graphic design and printmaking majors welcome. Students should be at junior or senior levels.

Prerequisites: Open to Juniors and Seniors

Hybrid Studio/Critique

All College Elective Fall & Spring

CDIL326 Junior Illustration 3 cr.

This course explores various areas of professional illustration. Assignments address book, editorial, product and advertising illustration and emphasize working with color as a precise visual language.

Prerequisites: CDIL-205,CDIL-208, CDIL-211, CDIL-214, CDIL-215, CDIL216

Departmental Requirement Fall & Spring

CDIL327 Technical Illustration 3 cr.

This course includes an introduction to the laws of linear perspective,--an exploration of how three- dimensional reality is depicted on a two-dimensional surface. Additional course content includes tools of the trade, various techniques for producing technical illustrations, informational art and instructional illustrations in sequential series.

Prerequisites: CDIL205, CDIL208, CDIL211, CDIL214, CDIL215, CDIL216

Hybrid Studio/Critique

Departmental Requirement Fall/Spring

CDIL334 Professional Illustration 3cr

Boston is a city rich in diversity as well as being home to over 100 non-profit organizations that serve the community at large.

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The Professional Illustration for the Community course aims to provide students with an opportunity to partner with a variety of area non-profit organizations, creating illustrated projects specific to their needs.

Similar in structure to the very popular Professional Freelance Studio class, assignments produced in Professional Illustration for the Community would however have one major difference: intent.

This course will make students aware of the fact that illustration need not be limited to the commercial realm and that their artistic contribution can lead to greater understanding of themselves, the community and beyond.

Organizations such as Eagle Eye Institute (empowering urban people from low-income communities, especially youth of color, to play an active role in caring for our environment), The Bay State Reading Institute (ensuring that every child leaving elementary school a proficient reader) and The Boston Tree Party (an urban agricultural and participatory art project), would be invited to collaborate with the class.

Prerequisites: CDIL-215

Critique

Undergraduate Elective Fall

CDIL337 Virtual 3D Illustration 3cr

This course teaches the basics of creating digital 3D illustrations using ZBrush. ZBrush is industry standard software that enables artists to sculpt directly in a 3D environment. With an emphasis on drawing and composition, this course explores ways to translate 2D drawings into three dimensions. Topics covered include, character development, environment, lighting and texture.

Prerequisites: CDIL-208 or CDAN 203 or Permission of Instructor

Hybrid Studio Critique

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Fall

CDIL392 IL Course Assistantship

Prerequisites: Permission of Instructor

Fall & Spring

CDIL398 IL Internship

Prerequisites: Permission of Instructor

Fall and Spring

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CDIL399 IL Independent Study

Prerequisites: Permission of Instructor

Fall and Spring

CDIL400 Professional Freelance Studio 3 cr.

A course designed for highly motivated students interested in freelance illustration. Assignments, developed in conjunction with publishers, corporations, and small businesses, focus on illustration for publication and the experience of taking an actual commission from concept to completion.

Prerequisites: Seniors Only

Critique

Departmental Elective Spring

CDIL401 Black and White Illustration 3 cr.

Students will explore various dry and wet black and white illustration media and techniques, both additive and subtractive, including some experimental printmaking. Course will include working with brush and ink, pen and Ink, gouache and acrylic paint, stipple with technical pen, pencil on toned paper, block prints, monoprints with emphasis on the power of creating dynamic value as a means to communicate ideas. Students will complete a series of assignments designed to showcase each media's distinctive strengths.

Prerequisites: Open to Juniors and Seniors

Critique

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Departmental Elective Fall & Spring

CDIL403 Thesis Project I: Research 3 cr.

The first of two semesters involving investigations of a topic of personal interest to each student which is relevant to illustration. This course demands far-reaching scholarly research and extensive comprehensive drawings in preparation for a finished body of work.

Prerequisites: CDIL-304, CDIL-305, CDIL-327 or CDIL-210, CDIL-350, CDIL-326 or CDIL-310 Runs concurrenlty with CDIL-404 Co-requisites: CDIL404

Critique

Departmental Requirement Fall

CDIL404 Thesis Project II: Imagery 3 cr.

This course is the second of two semesters in which students continue to produce finished illustrations/animations and prepare a bound graphic summary for the degree project exhibitions. (Previoulsy Illustration Thesis Project II)

Prerequisites: CDIL-304, CDIL-305, CDIL-327 or CDIL-210, CDIL-350, CDIL-326 or CDIL-310 Runs concurrenlty with CDIL-403 Co-requisites: CDIL403

Critique

Departmental Requirement Fall

CDIL419 Senior Illustration 3 cr.

This course is focused on the development of a body of images geared toward a specific area of the illustration marketplace that is of particular interest to each student.

Prerequisites: CDIL-403 & CDIL-404

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Co-requisites: CDIL420

Critique

Departmental Requirement Spring

CDIL420 Illustration Portfolio 3 cr.

Development of portfolio material based on the student's professional focus. Through a series of discussions with the instructor and presentations by illustrators/animators in the field, students develop professional standards and produce finished portfolio pieces.

Prerequisites: CDIL-403 & CDIL-404 Co-requisites: CDIL419

Critique

Departmental Requirement Spring

Industrial Design

EDID3X8 Ethnography and Culture 3 cr.

This course explores methods of observing activities of human interaction within cultural context, and focuses on the applied use of these methods and observation activities to product development. The class looks at user culture within specific identifiable groups to aid in the development of design solutions for the needs of the end user.

Prerequisites: EDID245, EDID315

Hybrid Studio/Critique

Departmental Elective

EDID203 Design for Fabrication 3cr

The design of beautiful and desirable object is enhanced by its details. Understanding the benefits and limitations of materials and how they come together to create products feeds the attention to these details. When one makes this object they have an intimate connection to these details. By moving beyond the one-off and developing the blueprint for multiples the designer will develop the necessary communication

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skills to translate these intentional coming together with a keen focus on production methods and color, material and finishes for fabrication of these objects. Materials explored are wood, metal, plastics, ceramics and glass.

Hybrid Studio Critique

Fall and Spring

EDID205 Drawing for Designers 3 cr.

The documentation and communication of ideas require fluency with symbolic and illustrative methods; a language. This course develops and refines the basis of this language, the "alphabet and grammar" used to communicate the characteristic of objects and systems. Through the exploration of various media using architectural or industrial design contexts, this language will be applied to objects and systems allowing them to be easily understood and reproduced.

Hybrid Studio/Critique

Departmental Elective Fall/Spring

EDID215 Industrial Design Principles 3 cr.

An introduction to processes used in all areas of design and illustration, this course provides a foundation in the methods of concept, image, and form development. Using initial techniques such as brainstorming, mind-mapping, and researching, ideas are developed for a variety of 2D and 3D solutions to applied projects. Tackling common issues of personal engagement, collaboration, and client interaction, students express a personal voice within the specific parameters of each assigned problem.

Hybrid Studio/Critique

Departmental Requirement Fall

EDID216 Introduction to CAD/Solid Modeling for ID 3 cr.

Hybrid Studio/Critique

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Departmental Elective Fall & Spring

EDID218 Product Rendering 3 cr.

An in-depth study of several product illustration and presentation styles. Many different drawing and rendering media are used to develop skills in product design presentation.

Critique

Departmental Elective

EDID220 Joinery 3 cr.

Students will develop and refine craftsmanship and design process in the context of furniture design and the construction of two or more furniture pieces. There will be lectures and student research on the history of furniture design, modern movements and techniques.

Hybrid Studio/Critique

Departmental Elective

EDID224 Conceptual Drawing 3 cr.

The course stresses the process of working with dry media techniques (graphite, charcoal, pastel, colored pencil, scratchboard), basic drawing skills, and 2D principles to render concepts. Visual metaphors are explored by manipulating the contexts and relationships of objects and figures.

Hybrid Studio/Critique

Departmental Elective

EDID225 Industrial Design Form 3 cr.

Hybrid Studio/Critique

Departmental Requirement Fall

EDID235 Manufacturing Process I 3 cr.

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A materials and manufacturing awareness production course in two parts. Part one includes casting, fabrication, and molding techniques for metals and plastics. Students discuss production techniques, selection and use of modern machine tools, dies, jigs, and fixtures. Part two includes product development documentation (three-view preliminary design layout drawings) for manufacturing processes such as sheet metal, casting, extrusion plastics, injection molding, vacuum form, blow molding, and fiberglass.

Prerequisites: EDID215, EDID225

Lecture/Seminar

Departmental Requirement Spring

EDID245 Human Factors Seminar I - Ergonomics 3 cr.

Prerequisites: EDID215

Hybrid Studio/Critique

Departmental Requirement Spring

EDID302 Packaging and the P.O.P. 3 cr.

This course is an examination of 3D packaging design covering branding, graphics and the development of a P.O.P. "point of purchase" display. This studio course focuses on design phases from concept, design development to the three-dimensional actualization of a point of purchase display. The goal of this class is to develop a user-centered consumer experience with product/packaging that creates a memorable experience that resonates with the consumer. Open to Industrial Design, Graphic Design and Architectural Design juniors and seniors.

Hybrid Studio/Critique

All College Elective

EDID303 Integrated Product Design 3cr

IPD is structured around the process of creating a successful new product. Our class sessions will explore the knowledge, methodologies and tools associated with this process. In turn, we will put this process to work in our classroom and in product design and development facilities at Babson College, at Olin College of Engineering, and at

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Massachusetts College of Art and Design. The results will be a well-researched market and product opportunity, a product design and an alpha- prototype - all presented at an end-of-semester presentation session.

Critique undergraduate Elective Fall

EDID306 Storytelling for Design Leaders 3cr

Storytelling predates writing, and was critical to early human survival. Today, people and cultures tap into human emotions, motivations, and psychology to move others to understand and interpret their experiences. In Design, success is directly related to your ability to tell an engaging story -it is impossible to be understood, find support for your idea, or have influence as a Leader without delivering compelling reasons to listen and take action. This course will help you be aware of who you are, in order to effectively express your purpose as a designer in many formats; visual, written, told and expressed. We will deploy best practices for telling other people's stories-stories of your end users, to build empathy and support for innovative ideas. Finally, we will examine and compose the ingredients to an excellent pitch-how to establish value, simplify message, construct anticipation, and persuade your audience to believe and follow your lead.

Prerequisites: EDID-245

Critique

Fall and Spring

EDID314 Rapid Visualization and Perspective 3 cr.

Course focuses on sketching as the fundamental tool for communication for designers. Students will be required to maintain a sketchbook as well as complete various weekly sketching assignments. Fundamentals of perspective will be introduced and practiced throughout the class. Examples of how rapid viz techniques fit into the design process as a whole will be illustrated.

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Hybrid Studio/Critique

Departmental Elective

EDID315 Industrial Design I 3 cr.

Prerequisites: EDID235, EDID245

Hybrid Studio/Critique

Departmental Requirement Fall

EDID318 Branding - Product 3 cr.

This course examines issues around industrial design in brand development, through applied problems. There is a focus on the relationship of telling compelling stories to connecting a brand with people.

Prerequisites: EDID245, EDID315

Hybrid Studio/Critique

Departmental Elective

EDID325 Manufacturing Process II 3 cr.

Prerequisites: EDID235

Hybrid Studio/Critique

Departmental Requirement Fall

EDID345 Industrial Design II 3 cr.

Integration of creative concepts with the development of visual communication skills, such as rendering and model-making.

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Prerequisites: EDID315

Hybrid Studio/Critique

Departmental Requirement Spring

EDID355 Professional Practice:Discovering Your Professional Self 3 cr.

Directing of students through the process of developing a professional portfolio. Basic elements of Illustrator, Photoshop, PowerPoint, Acrobat, web-based. Students required to present complete portfolio piece at reviews. [Fomerly titled Portfolio and Presentation]

Prerequisites: EDID315

Hybrid Studio/Critique

Departmental Requirement Spring

EDID365 Product Development Laboratory 3 cr.

Prerequisites: EDID215, EDID225, EDID235, EDID315

Hybrid Studio/Critique

Departmental Requirement Fall/Spring

EDID392 ID Course Assistantship

EDID398 ID Internship

EDID399 ID Independent Study

EDID402 Design for Social Impact 3cr.

The first project is constructed to give students the broad understanding of SDI and includes precedent studies, product/service development, research, synthesis and a final presentation. Students work closely with a chosen non-profit or social enterprise as a means for deconstructing and understanding as well as first hand insights into the complicated system. For the second project, students follow the design process from inception to finalization with the end deliverable as a presentation to pitch to venture capitalist, non-profits, endowments or community

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leaders to incite traction, funding or future collaboration.

Prerequisites: Open to Seniors only

Undergraduate Elective Fall Only

EDID415 Industrial Design III 3 cr.

Design projects developed in full four-phase programs: Analysis and Conceptual Refinement;Final Design and Documentations; Model and Presentation.

Prerequisites: EDID345

Studio

Departmental Requirement Fall

EDID425 Degree Project I - Research 3 cr.

A student selected and faculty approved project of significance.

Prerequisites: EDID345

Critique

Departmental Requirement Fall

EDID435 Degree Project II- Development 3 cr.

A student selected and faculty approved project of significance.

Prerequisites: EDID425

Hybrid Studio/Critique

Departmental Requirement Spring

Liberal Arts: Freshman Seminar

FRSM100 First-Year Seminar 3 cr.

A freshman seminar is a course for first year students that seeks to develop reading & thinking skills. It is a skills-development course designed to complement LALW100 Written Communication. It seeks to

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teach students to read written texts with college-level comprehension skills and to think analytically. Freshman seminar topics vary by section. Educating students in a particular subject or discipline is a by- product, not an objective, of a freshman seminar. [Formerly titled Freshman Seminar]

Lecture/Seminar

All College Required Fall/Spring

Liberal Arts: Literature, Writing, and Film

LALW100 Thinking, Making, Writing: Using Words with Clarity and Flair 3 cr.

An introduction to writing for today's global communication. Six to eight writing assignments designed to develop deep thinking skills. Course includes expository and critical essays, with some requiring research. Students also practice close reading skills with outstanding pieces of prose, poetry, fiction, and nonfiction selected for the artist. [Formerly known as Written Communication]

Lecture/Seminar

All College Required Fall/Spring

LALW200 Literary Traditions 3 cr.

An exploration of the sources of culture through a survey of literary masterpieces from the ancient world to the seventeenth century.

Prerequisites: LALW100; FRSM100 (Freshman Seminar

Lecture/Seminar

All College Required Fall/Spring

LALW201 Men, Women, and the Myth of Masculinity 3 cr.

The course examines the idea of masculinity and how it is portrayed in literature from ancient times to the twenty-first century. In addition to studying traditional views of manhood, we will also look at men's attitudes towards women, since "masculinity" is usually defined in opposition to "femininity." There will be many opportunities to discuss perceptions of what it means to be a man or a woman, and to explore the elusive concept of gender identity. The syllabus will include works by Shakespeare, Ovid, Ibsen, and Hemingway, among others. We will also watch and listen to selected films and operas.

Prerequisites: LALW200

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Lecture/Seminar

All College Elective

LALW203 Film Viewing and Criticism 3 cr.

A critical study of the expressive elements of film. Class meetings consist of film viewing, evaluations, and discussions. Students frequently write critical papers.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW205 Children's Literature 3 cr.

What makes a children's book a classic? We'll find out as we read, analyze, and enjoy the best of the field--fantasies from Peter Pan to Harry Potter, realistic novels from Anne of Green Gables to Roll of Thunder, Hear My Cry, and stories falling somewhere in between, like The Secret Garden. Though our emphasis will be on longer books for older children, we'll also consider fairy tales and picture books. Final project: writing a "classic" children's book, illustrating one, or both.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW206 Graphic Novels 3 cr.

The course explores the art and composition of the graphic novel and examines its many sub-genres, from superhero tales to memoirs to manga. The textbook is Scott McCloud's Understanding Comics. Other texts include Watchmen, Contract With God, Sandman, Maus, and Persepolis. For the final project, students create and make preliminary sketches for an original graphic novel.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW210 Famous Writers & their Celebrated Illustrators 3 cr.

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Famous Writers and their Celebrated Illustrators combines literature and art. Discussed are great works of literature and the visual images they inspired. Writers include Dante and Cervantes. Pushkin, Gogol, Corneille, Swift, Defoe and Wilde, among others, are discussed. Illustrators include Botticelli, Dore, Delacroix, Beardsley, Picasso, Pasternak (the father), Favorsky, Baskin, and numerous contemporary illustrators.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW214 History and Issues of Documentary Films 3cr

Documentary, as defined by John Grierson, is the creative treatment of actuality. Grierson coined the term in his review of Robert Flahertys Moana (1926). Contemporary culture expands on classical rhetorical and observational forms to include docusoaps, agitprop, advocacy, animation, sensory ethnography, mockumentary, first-person, and more. In this course we will explore the origins of documentary, discuss the central issues of the field, examine historical and contemporary trends, and identify the aesthetic strategies and techniques used by documentary makers along with their rhetorical effects.

Prerequisites: LALW200

Lecture

Undergraduate Elective Spring

LALW215 Memoir & the Artist 3cr

Learn how to tell your story so the world listens. Study contemporary memoirists to understand the principles of effective storytelling in this popular genre. Memoir writing is one part experience and one part reflection. How much of each varies from one artist to the next. Using artists' journals and structured writing exercises, you will have the opportunity to explore various ways to approach your experience and learn to build your skills for reflection. This course culminates in your memoir project that showcases your unique and original voice using word and image combined. (Formerly titled: Memoir Writing)

Prerequisites: LALW-200

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Seminar

Spring

LALW220 Why I Write, Why I Create 3cr

This course introduces students to the history and practices of creative nonfiction writing. Here our connections to people, places, and things are expressed through nature and environmental writing, travel and adventure too. In creative nonfiction, both memoir and narrative nonfiction include the "I," because direct experience is an important part of this genre. Creative nonfiction writing gives us the space we need to reflect and give meaning to moments in our lives. Creative nonfiction writing is an experimental art because meaning is discovered in the act of creating; playing with form is part of the process. Students develop six essays of their own that concentrate on one form: flash nonfiction. No prior writing experience required. [Formerly Titled: Creative Nonfiction]

Prerequisites: LALW200

Lecture

Undergraduate Elective Fall

LALW222 Fantasy Worlds 3cr

Modern fantasy literature consists of fantastic stories set in imagined worlds. It features characterscreated by the author rather than drawn directly from traditional myths and legends. The course examines the origins of the genre, which emerged during the nineteenth century, and which has taken both epic and satiric forms. Although some attention is given to the legends, folktales, and romances that provided models and inspiration to fantasy authors, the main focus is on the classic works of the genre.

Prerequisites: LALW200

Lecture

Undergraduate Elective Spring

LALW227 The Female Gaze in Film 3cr

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This course is an introduction to feminist film and theory with a particular focus on the concept of the Female Gaze. Students will explore issues of representation, visual pleasure,spectatorship, scopophilia and subjectivity. We explore how women are represented in mainstream film, and the function and consequence of these representations in a social, historical and cultural context. The course will examine the works of filmmakers such as Alfred Hitchcock, David Lynch, Sally Potter, Jane Campion and Andrea Arnold, with a specific focus on feminist filmmakers who subvert conventional cinematic trends.

Prerequisites: LALW-200

Lecture

Spring

LALW229 Social Justice Documentaries 3cr

This course will introduce social justice issues as they are represented and explored through documentary film and video. The course provides a conceptual overview of the forms, strategies, structures and conventions of documentary film and video. The class will examine documentaries that construct arguments about the power relations in society, while attempting to raise awareness and motivate action for social justice. Students will consider dominant, experimental and emergent modes of representation; including important documentary texts, movements, filmmakers and selected documentary genres. Specific topics for the course include: Mental & Physical Disabilities, Notions of "Race", Crime & Punishment, Immigration, War, Gender & Sexual Identity, Environmental Concerns, Social Class & Workers' Rights, Personal Narratives, Politics, Education, and Counter Cultures. Through this course, students should gain knowledge of the current theoretical dilemmas and debates in documentary filmmaking, including questions of how to define documentaries, what

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constitutes the ethical treatment of subjects and subject matter, documentary's construction and positioning of audiences, as well as political and economic constraints on documentary filmmaking. Ultimately, the course will emphasize critical thinking and viewing skills related to representations of the social world through documentaries.

Prerequisites: LALW-200

Lecture

Spring

LALW233 Creative Writing Workshop: A Multigenre Workshop 3cr

This course introduces students to creative writing-through poetry and fiction-and explores hybrid genres and connections between word and image. Students learn the elements of craft that are particular to each genre and universal for both. They write their own pieces that are critiqued by peers and instructor. Students also read literature as models for their own writing and become familiar with contemporary literary journals.

Seminar

Spring

LALW300 Playwriting 3 cr.

A course that teaches the fundamentals of writing drama for the stage. Students study the craft of successful plays by Edward Albee, August Wilson, Paula Vogel and others, applying what they learn to writing their own scenes and plays. The course culminates in a public developmental reading of some of the best one-act plays written by the students.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW301 Monster Madness 3 cr.

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We round up the usual suspects: the appalling and tragic monster and his equally tragic and appalling creator; the charismatic vampire and his bevy of vamps; the traveling salesman who finds himself transformed into a giant dung-beetle. More broadly, the course studies the idea of monstrosity and the ways in which monsters represent the shadowy side of human nature: what people fear and what they desire. The syllabus includes Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde, Kafka's Metamorphosis, and Nabokov's Lolita.

Prerequisites: LALW200

Lecture/Seminar

All College Elective Summer (PCE)

LALW305 Russian Short Story 3 cr.

Russian literature burst on to world stage suddenly and unexpectedly in the early nineteenth century and almost immediately gained tremendous worldwide influence. Everyone knows the names of Tolstoy and Dostoevsky, Chekhov and Pasternak, Nabokov and Solzhenitsyn. Great Russian literature is also uniquely connected to Russian philosophy and politics. Reading and studying these works helps students to better understand the trials and tribulations of modern times.

Prerequisites: LALW200

Lecture/Seminar

All College Elective Fall and Spring

LALW306 Modernist Word and Image 3 cr.

Nearly 100 years on, the visual and verbal experiments of high Modernism still have the power to arrest our gaze and our attention. In this course, we explore the unique conversation between word and image that occurred between approximately 1910 and 1945. How did visual artists respond to innovations in poetic form? What does literature look like when it aspires to be pictorial or visual? Do artists and writers actually practice the principles laid out in their manifestos? Questions like these-and many others- guide our investigation and analysis. Texts include seminal writings from Futurism, Dadaism, and Surrealism; avant-garde poetry by Apollinaire, Pound, Stein, Williams, and others; Wyndham Lewis' periodical Blast; Virginia Woolf's To the Lighthouse and other readings that complicate the boundaries between mediums, genres, and forms of expression.

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Prerequisites: LALW200

Lecture/Seminar

All College Elective Fall/Spring

LALW308 Lyric Poetry 3 cr.

Literary analysis and oral readings of lyric poems from several eras and cultures. Particular attention is given to subtle interactions between linguistic and structural elements such as rhythm, meter, stanza form, syntax, diction, and imagery.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW309 Twentieth Century American Literature 3 cr.

A focus on major writers who emerged in the twentieth century. The course concentrates on late twentieth century figures and earlier modernist writers.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW312 Creative Writing: The Essay 3 cr.

This course, conducted as a workshop with essays read aloud and critiqued in class, provides students with an opportunity to explore through their own writing the power and variety of the essay form. From memoir to observation, personal profile to political observation, this course encourages students to transmit interior reflection and external observation into essay form. Assigned reading of essays. Grade based on 25-page portfolio (usually five essays).

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW313 Caribbean Diaspora Literature: Beyond the 'Tropical Paradise' 3 cr.

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This course explores the concept of 'border' as a geographic and symbolic space by focusing on the work of contemporary writers from the Caribbean region, many of whom reside in the USA and Europe. The course provides students with an overview of the histories, cultural identities, literary and creative expressions of the Caribbean archipelago. Students consider the role that Caribbean diaspora fiction, poetry, and critical theory play in contemporary North American and European societies. Readings are in English or translated into English.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW317 (Im)migrant Voices: the Future of the American Dream 3 cr.

This class focuses on a variety of literary texts that examine the experience of immigrants in the USA from the 1950s to the present. The primary and secondary readings, supplemented by in class viewing of films and documentaries, offer a range of immigrants' narratives both in their specific socio-cultural contexts, and in relation to this country.

The class will shed light on American culture and society in its unifying values and contradictions, through the angle of vision given by outsiders looking in, and often challenging ideas of race, gender, identity, 'home', and the American Dream.[Formerly Immigrants in America] Due to the intensive nature of this class, Prof. Preziuso does not accept any student who wishes to enroll in her class after week 1 of the semester, hence having missed the first week of class.

Prerequisites: LALW200

Lecture/Seminar

All College Elective Fall/Spring

LALW318 Word and Image in the 19th Century: The Romantic Tradition 3cr

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This course investigates the connections between poetry, painting, and the graphic arts in the nineteenth century. The course treats how writers and artists shared a series of similar concerns over revolution, nature, and the individual and how these concerns combined to shape the development of a specifically romantic tradition within the literary and visual arts. Writers and artists include Blake, Wordsworth, Byron, Rossetti, Goya, Constable, Turner, Delacroix and the Pre-Raphaelites.

Prerequisites: LALW200

Lecture

Undergraduate Elective

LALW320 Poetry Workshop 3 cr.

In this course, students write, revise, and share poems as a community, experimenting with new subjects and new forms and responding attentively to poems written by other class members. Additionally, they consider published poetry to learn key elements of poetic craft. Students assemble their original poems into portfolios to demonstrate their command of imagery, diction, stanza, line, voice, form, prosody (sound and rhythm), and other aspects of richly dynamic poetry.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW322 Shakespeare: On Film and In Print, Part 1 3 cr.

A study of A Midsummer Night's Dream, Romeo and Juliet, Henry V, Hamlet, and King Lear, using a genre approach. Emphasis is on reading and understanding Shakespeare. The films are studied as contemporary realizations and interpretations of the plays.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW323 Nationalism in Music & Literature 3cr

This course focuses on the interplay of folk and sacred music and idioms, language and dialect, and regionalist and nationalist literature in the evolution of 19th-century musical regionalist and nationalist expression. It treats the confluence of history and geography, the significance of minority-language rights and expression, and the development of human rights and religious freedoms as central to understanding artists', composers' and authors' motivations.

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Prerequisites: LALW200

Lecture

Undergraduate Elective Spring

LALW326 Asian Cinema: Postwar India, Japan & China 3cr

This course looks at the development of Asian cinema through the lens of three of the most important national film industries: India, Japan, and China. How do the films from these countries reflect diverse but interrelated cultural traditions? How is the cinematic representation of these traditions shaped by a dialogue with Hollywood and European film? How does the development of post-war Asian cinema reflect the shift from a national to a more global film market? This course explores these and other related questions though a combination of weekly film screenings, lecture, and class discussion. Directors include Satyajit Ray, Kenji Mizoguchi, Akira Kurosawa, John Woo, and Wong Kar- Wai.

Prerequisites: LALW200

Lecture

Undergraduate Elective Fall & Spring

LALW329 Literature & Culture of the Great War 3 cr

The Great War (1914-1918) altered global politics, national cultures, language, consciousness, and aesthetics in ways that the world is still processing. This course explores the culture into which the war exploded; the lived and written experience of soldiers and civilians alike; and hallmarks of the diverse body of literary and artistic output that responded to the horrors of mechanized trench warfare, shellshock, and massive loss. The reading list includes works by Robert Graves, David Jones, Guillaume Apollinaire, Virginia Woolf, Erich Maria Remarque, Wilfred Owen, and others.

Prerequisites: LALW200

Lecture

Elective Fall/Spring

LALW333 Silent Film Miracles 3cr.

This course introduces students to masterpieces of silent cinema, the now lost art form that predates the widespread adoption of sound-on-disc

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and sound-on-film recording technology in the late 1920s. Students undertake research on aspects of silent cinema. Readings include Silent Stars (Jeanine Basinger), Silent Players (Anthony Slide), Hollywood: The Pioneers (Kevin Brownlow & John Kobal), and others. The viewing list includes Battleship Potemkin, Beau Geste, Ben Hur, Broken Blossoms, Cabinet of Dr. Cagliari, City Lights, He Who Gets Slapped, Hell's Angels, Hunchback of Notre Dame, It, Man With Movie Camera, Metropolis, My Best Girl, Passion of Joan of Arc, Peter Pan, Prix de Beauté, Rain, Seventh Heaven, Show People, Son of the Sheik, Speedy, Stella Dallas, The Big Parade, The Crowd, The Great White Silence, Thief of Bagdad, Trip to the Moon.

Prerequisites: LALW200

Lecture

Spring

LALW338 Film Script Writing; Adaptation 3cr.

Students learn film scriptwritng, film aesthetics, and fundamental features of literature and film viewing, discussing and evaluating films derived from selected fiction. Students compare remakes of fiction filmed multiple times. Students learn and employ industry-standard script writing software to create, discuss and evaluate original screenplays they themselves create from works of fiction. [Fromerly Film Script Writing]

Prerequisites: LALW-200

Fall and Spring

LALW340 Black Cinema:American Myth, Racial Ideology and Hollywood 3cr.

"What is ""Black Cinema""? How did ""Black Cinema"" originate? What gives ""Black Cinema"" a distinct voice of its own? Must ""Black Cinema"" only be directed by African Americans, feature an all Black cast, or only address a Black audience and ""Black issues"" in order to qualify as ""Black Cinema""? Should we differentiate between ""Black Cinema"" and ""Cinema""? What are the ethical, social and political implications central to making these distinctions? This course examines those questions while chronicling the history and present state of ""Black Cinema""(from the early 20th century filmmaking of Oscar Micheaux; Blaxploitation films of Gordon Parks and Melvin Van Peebles; fiction films by Charles Burnett, Spike Lee, Lee Daniels, Steve

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McQueen and Dee Rees; documentaries by Marlon Riggs, Stanley Nelson and June Cross; as well as animation films made for TV and media streamed online). Despite the contributions to cinema by these distinguished people of African descent, there remains a significant need for Black cinema studies within the broader areas of Africana Studies in the US and abroad. For these reasons, this course explores how Black authorship, content and reception have been defined and reconsidered in relation to dominant American myths, racial ideology and film industry practices, that have long presented limited and distorted social and political constructs of African Americans and the African Diaspora in cinema. This course challenges those portrayals and assumptions through thoughtful inquiries into the intricate modes of racial coding of moving images.

Prerequisites: LALW-100 & FRSM-100

Fall Only

LALW341 Writers of the Black Atlantic 3cr

This class offers a cross-cultural survey of black literature in the 20th-Century. It explores the ways black writers from Africa,

Europe, and the Americas share a globalized perspective that is not distinctly African,

European, or American but rather a multicultural perspective that historian Paul Gilroy has called the culture of the Black Atlantic. Based on the history of transatlantic crossings of the slave trade and its aftermath, this Black Atlantic is a confluence of diverse cultural traditions.

Covering topics such as slavery, racism, and colonialism, this class focuses on the ways writers of the Black Atlantic have used this multicultural perspective to establish a critical voice for expressing the black experience in the

20th-Century.

Prerequisites: LALW-200

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Lecture

Spring

LALW342 Fiction Workshop 3cr

This course supports students to write original fiction prompted by assignments on the fundamental elements of the craft and the study of published fiction. Students share and provide feedback to other students in critique workshops.

Discussions focus on what comprises a good story, with an emphasis on characterization, narration, plot, scene, setting, dialogue, and style, and ways of generating one's own stories. Comparisons between written and graphic narratives are also explored.

Prerequisites: LALW-200

Seminar

Fall

LALW346 Camelot: Tales of King Arthur 3 cr.

A study of the literary epics of the legends surrounding Camelot and King Arthur, their origins in the middle ages and subsequent variations.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW348 Storyforth: Expressing Human Experience In Art and Design 3cr

Part of the magic of design work is to understand and express human needs based on interviews,

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observations, and research. In this course, our conventional ideas on writing a story about a person's experience may be challenged when we read about the White House butler for eight presidents or a story of a gypsy for our times.

Profiles from current literature show new ways to describe experience. Come explore how you might give voice to your clients' needs. Three main essays and presentations are required: a description of a client or group of clients, a study of the challenges in expressing specific experiences, and a story crafted to show the relationship between one art design and a human need.

Prerequisites: LALW-200

Seminar

Fall

LALW349 History of Film 3 cr.

This course surveys film history from the 1890s to the present. Students use a history of film textbook and general history readings to study films demonstrating the evolving development of motion picture art and the motion picture industry. Students undertake film making exercises and produce written research treating trends and questions in motion picture history.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW362 The 21st Century Novel 3 cr.

This course examines developing trends and standards for English-language novels in the twenty first century. It treats nine geographically and stylistically varied

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permutations of this long-fiction art form (including literary prize-winners and bestsellers) while attempting to place them in the web of literary tradition. Touchstone text and beginning book is the acclaimed 20th century novel Howard's End, in which author E.M Forster famously exhorts his readers to "only connect." In this spirit, the course seeks to connect the best of what authors are writing now with traditions of literary practice, always looking ahead to probable evolutions in the twenty first century. [Formerly Titled 21st Century Novels]

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW365 Women's Literature in Comparative Perspective 3cr.

In this course we read and discuss twentieth century and contemporary women writers and critical thinkers who traverse more than one culture, nationality, and geography. Their writings focus on women's identity, experiences and creative practice in response to colonial and post-colonial histories, sexism, racism, and various forms of inequity and oppression. The course invites students to reflect on equity, cultural competence, inclusion and empathy in the readings and class discussion. In line with its comparative perspective, the course places in dialogue writers from the Americas and the Caribbean, the Middle-East and West Africa, in a dynamic play of resonance and dissonance, similarities and differences. The weekly classes allow for the integration of in-depth discussions, close reading of the texts, presentations, and critiques of visual arts. You are invited to think transversally across these texts, and to forge connections between the themes of the class, the reality you know, and your creative process. [Formerly Women's Literature in International Perspective, Women's Literature in Global Perspective]

Prerequisites: LALW200

Lecture

Fall & Spring

LALW400 Directed Study 3 cr.

A Liberal Arts directed study is a research project selected by a student in a Liberal Arts discipline. Typically, the study results in a research paper of thirty plus pages or the equivalent, as agreed upon by the faculty member supervising the project. Because of its advanced nature, a Liberal Arts LALW directed study is open only to seniors and is limited to one per semester. No more than two Liberal Arts directed studies may be counted toward Liberal Arts degree requirements. Students seeking to register for a LALW directed study must execute a directed study proposal form that describes the proposed project, includes a bibliography, and describes the final project. Liberal Arts directed studies proposals require the approval of the Liberal Arts Department chair.

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Prerequisites: LALW200 enrollment senior elective, and consent of the instructor.

Lecture/Seminar

LALW402 Advanced Poetry Workshop 3cr.

In this workshop, students write, revise, and discuss their own poetry in peer critique workshops as they sharpen their poetry writing skills beyond an introductory level and examine how their own poetry is situated in the context of contemporary poetry. Guided by peer critique and the instructor's feedback, they assemble a final collection of poetry, possibly demonstrating how their poems intersect with their own major. Students also delve into a wide array of published poetry to deepen their understanding of poetry, compose a statement of their aesthetics, gain experience as editors, and write a critical study of some poets in relation to their own aesthetics. Finally, as a collective, students read their poems in public and/or publish a compilation of selected poems and artwork.

Prerequisites: LALW-320 or LALW-308 or LALW-233 or by permission of instructor. For permission, please email Cheryl Clark ([email protected]) a sample of 5 poems in one document with a brief explanation of why you would like to take this workshop. Include a list of relevant courses you have taken. If I find that this sample is not sufficiently strong, indicating that your command of poetry writing is insufficient for success in the class, I will let you know by e-mail as soon as I can. Send the sample as soon as possible.

Spring Only

LALW403 Writing an Artist's Statement 3 cr.

A workshop in which initial drafts and subsequent revisions of students' writings are photocopied, distributed to all members of the class, and critiqued. The objective is to help students develop artist's statements that: (a) are appropriate to the purposes for which they are written; (b) articulate what the student wants to say about their art; and (c) communicate clearly to the intended audiences.

Prerequisites: Seniors Only

Lecture/Seminar

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Senior Elective

LALW407 Literature & Culture of the Great War 3cr.

The Great War (1914-1918) altered global politics, national cultures, language, consciousness, and aesthetics in ways that the world is still processing. Planned for the centenary of the beginning of Great War hostilities, this course will explore the culture into which the war exploded; the lived and written experience of soldiers and civilians alike; and hallmarks of the diverse body of literary and artistic output that responded to the horrors of mechanized trench warfare, shellshock, and massive loss. The reading list includes works by Robert Graves, David Jones, Guillaume Apollinaire, Virginia Woolf, Erich Maria Remarque, Wilfred Owen, and others.

Prerequisites: LALW-200

Spring Only

LALW408 Imagining Others: From Strangers to Cyborgs 3cr.

"Imagining Others" is an intentionally ambiguous title. This class is as much about how "otherness" is being imagined in our culture as it is about the imaginative power of the voices that have been historically silenced, marginalized, made into "others." In this class, we will read about and critique a wide array of narratives of "otherness": from strangers to androids, from artificial intelligences to aliens, from avatars to cyborgs. We will delve into colonialization and de-colonization, cyborg feminism, Afrofuturism, and move across science fiction stories, art, and popular culture. We will also interrogate the value and limits of our communication technologies, and the use that artists and activists are making of the cyber-world. The common thread of the works we study is that they all hack into systems of meaning based on the dualism "us vs. them". Due to its integration of reading, art-critiquing and art-making, Imagining Others is an ideal class for artists approaching their final projects in their major departments.

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Due to the intensive nature of this class, Prof. Preziuso does not accept any student who wishes to enroll in her class after week 1 of the semester, hence having missed the first week of class.

Prerequisites: LALW-200

Fall Only

LALW410 Opera and the fusion of the Arts 3 cr.

What is opera? German composer Richard Wagner described it as a "total art work," combining music, drama, singing, and scenic design. This course encourages new ways of thinking about the relationships between different artistic disciplines and forms. Students view and discuss a selection of operas from the seventeenth through twentieth centuries. No classical music background is required, and no one is expected to sing. In a final project combining artwork and critical writing, students imagine and design a production for an opera of their choice.

Prerequisites: LALW200

Lecture/Seminar

All College Elective

LALW411 Man Vs. Wild and Other Stories We Tell 3cr

Droughts scorch the Middle East and the American southwest. Wildfires rip across Indonesia. Rising sea levels are already beginning to swallow up island nations, and warming waters are decimating ocean life. As the effects of climate change wreak havoc on human societies and ecosystems across the globe, they also shine an increasingly bright spotlight on how human beings think about and interact with the natural world. This class will explore changing attitudes toward nature over several centuries, including, and especially, the present day. We will discuss the role that writing and art have played in shaping our understanding of the natural world over time (with possible selections from Genesis, Edmund Burke, William Wordsworth, Charles Darwin, and Henry David Thoreau). We will also explore how writers, artists, and filmmakers are confronting

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the representational challenges posed by climate change today (possible readings include Margaret Atwood, Oryx and Crake; Paolo Bacigalupi, The Water Thief; Indra Sinha, Animal's People; Kim Stanley Robinson, Green Earth; selections from Bill McKibben, Stacy Alaimo, William Cronon, bell hooks, E.O. Wilson, and Eduardo Kohn; films such as Racing Extinction, This Changes Everything).

Over the course of the semester, you will undertake research on an interdisciplinary project that investigates a site of human-nature interaction of your choosing, traces its impact on the world, and explores creative ways to express this impact. You will receive feedback on this project in beginning, intermediary, and final stages, and it will include both written and creative components. We will have several exciting opportunities to broaden our perspectives on this topic. First, this course will be participating in the interdisciplinary Sustainability Studio in the DMC, through which we will be opening several of our classes to the public. Second, we will meet multiple times over the semester with Professor Nava's summative elective course, which approaches many of the issues we will be addressing from a scientific perspective that will deepen our humanistic one.

Prerequisites: LALW-200

Seminar

Spring

LALW412 Your Ted Talk 3cr

Students conceive, propose, revise, and deliver an original ten-minute TED-style talk that presents a participant's senior (studio-department) thesis, or a participant's artist's statement, or a participant's statement of core beliefs. Participants review widely-shared TED Talks and the research, literature, and other sources informing them. Students critique each other's TED Talks. Talks are digitally recorded and edited by Mass Art technicians. Talks may be internet-posted.

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Prerequisites: LALW-200

Seminar

Fall and Spring

LALW413 Film Curating 3cr

In this digital age of access to videos on demand, there remains a steady increase of film festivals, cinémathéques, art houses and the prominence of curating - both as a concept and career path. This seminar course mostly consists of screenings and lectures that will provide students with a historical, theoretical and practical overview of film curating. Bringing together the art form and strategies behind showcasing films, this course offers an academic and hands-on exploration into the role of film programming and presentation in an age when analog has fallen from grace and digital distribution technologies are transforming both the traditional notion of film exhibition and commercial side of distribution. One of the key attractions of the course is the behind the scenes access students have to innovative and thought provoking filmmakers, producers, film festival programmers, critics and other industry insiders. Student participation at leading film festivals and independent film gatherings is tied into the course. Using the MassArt Film Series

(TBD), Independent Film Festival Boston, Boston

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Asian American Film Festival, DocYard, MFA

Boston, ICA, Emerson Bright Lights Film Series,

Boston Latino International Film Festival,

Brattle

Theater, Harvard Film Archives, Coolidge Corner

Theater, Boston Palestine Film Festival, and other local film outlets as our laboratory, students will assume hands-on integral roles in managing all means of operation entailed in film curation. At the end of the semester, students will curate a film-related event of their own choosing, drawing on the combined knowledge, resources and expertise gathered from this course.

Prerequisites: LALW-200

Seminar

Instructor's Discretion

LALW414 Why Novels Now? Create Your Own Long-Form Fiction 3cr

Why Novels Now? Create Your Own Long-Form Fiction, a LALW Summative Elective, is designed for upper-level students with an active interest in the longer forms of fiction, especially those who are completing the Creative Writing Minor. Why Novels Now? is a defense of the need for leisurely literature in our electronically-rushed world; it is both an inspection of the history and future of novels and a craft class in which each student plans and writes their own novel or graphic novel.

To unlock valuable storytelling secrets, we'll compare two well-made novels: E. M. Forster's 1910 English classic Howards End and Zadie Smith's On Beauty, her 2005 parallel to Forster's book that's set in the Boston area. Other course texts: Jane Smiley's 13 Ways of Looking at the Novel and Scott McCloud's Making Comics: Storytelling Secrets of Comics, Manga, and Graphic Novels.

Each class session will include an in-class writing workshop aimed at practicing a different technique of the writing craft.

Prerequisites: Take 15 cr from Lib. Arts

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Seminar

Spring

LALW415 Creating a Comic Book 3cr

In this course, you will be both students and creators of the graphic novel form. We will begin by familiarizing ourselves with the history of "sequential art," from comic strips to superhero comics, from comics to graphic novels. After establishing this larger historical context, though, most of our time will be spent on exploring the possibilities of the form. To do this, we will seek out and study cartoonists who have experimented with comics and graphic novels. Through a series of weekly in-class and extracurricular sketching and writing assignments, you will also experiment with the form. Ultimately, you will draft, revise, and complete a polished, substantial graphic narrative that tells a story of your choosing; and a preface that contextualizes your narrative within the class's readings and your personalized research. This is a Summative Elective Liberal Arts class, meant to represent the culmination of three to four years of integrating liberal arts and studio classes at MassArt. The assignments in this class embody this synthesis. As you write and re-write your comic, you will draw on analyses of other graphic novels, research tailored to your story, and feedback from your peers and me. This course is especially suitable for students who have studied graphic novels in other settings but is open to all who are intrigued by the endless ways to tell stories through comics.

Prerequisites: Take 15 credits from Lib. Arts

Seminar

Spring

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LALW416 I Hear America Singing 3cr

Specifically engaging works about America by Americans, this course emphasizes the sociocultural work of the musical as conveyed through its elements of music and dance. With scripts and soundtracks as the primary texts, students will experience and analyze a selection of works, critically engaging issues such as adaptation, musical genre, performance history, and representations of gender and race.

Prerequisites: LALW-100, LALW-200 and 9 credits from Liberal Arts

Seminar

Fall

LALW423 Shakespeare and Identity:Race, Religion, Gender, and Sexuality On the Elizabethan Stage 3cr

It seems today as if conversations about identity, social prejudice, and social justice are at the center of our public discourse. Perhaps they always were. This course considers identity in the Age of Shakespeare. In eight English plays (mostly though not exclusively by Shakespeare), students encounter provocative treatments of race (Titus Andronicus, Othello, The Tempest), religion (The Jew of Malta, The Merchant of Venice) and gender/sexuality (Edward II, Twelfth Night, The Roaring Girl). Supplementary readings include poems, essays, and treatises from the classical era and the late Renaissance. Written assignments include one critical paper and a final project combining writing and artwork, in which students design and describe their own production of one of the plays studied. [Formerly titled Shakespeare and the Other]

Prerequisites: LALW-200

Seminar

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Fall and Spring

LALW452 Advanced Playwriting 3

This course offers principles and techniques necessary to write a stage-worthy play that presents the conflict of ideas as well as emotional and interpersonal conflict.

Prerequisites: LALW-300 or Permission of Instructor

Seminar

Spring

Liberal Arts: Mathematics and Science

LAMS200 The Universe 3 cr.

This course is designed to focus on the most fundamental questions of science in its largest and smallest scales. To understand the large scale of the universe, we will learn about Einstein's theories of Special and General Relativity. More specifically, Special Relativity will transform our understanding of space and time and General Relativity will provide us with a deep understanding of gravity. We will then employ these theories as a tool to study fascinating cosmological phenomena such as Neutron Stars, Black Holes, Quasars, etc. We will also talk about time travel, intergalactic explorations, artificial gravity and other topics that are relevant to intergalactic travel. Finally, we will spend some time to talk about the nature in its smallest scales. To that end, we will learn about the Standard Model of Particle Physics, which describes the sub-atomic realm with an amazing accuracy.

Prerequisites: FRSM100

Lecture/Seminar

LAMS203 Physics of Music 3 cr.

This course uses principles of physics to understand musical instruments, scales, and chords. Required background: students must be able to find notes from written music on an instrument of their choice. The course draws upon algebra.

Prerequisites: FRSM100

Lecture/Seminar

All College Elective

LAMS206 Biomimicry 3cr

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Biomimicry is the study of the structure and function of biological systems as models for the design and engineering of materials. In this course, students become acquainted with basic concepts in biology, physics and engineering. Building upon this foundation, the course treats how designers solve design problems by mimicking nature.

Prerequisites: FRSM100

Lecture

Undergraduate Elective Fall & Spring

LAMS208 Bacteria Assassins 3cr.

Almost everyone has taken antibiotics at some point during their lives and we read every day about deadly "superbugs" that are resistant to antibiotics. But what does this resistance mean and how did we get here? The course examines the antibiotic resistance problem and an often-touted possible alternative, bacteriophages. Bacteriophages are viruses of bacteria and were discovered exactly 100 years ago during the First World War. Students examine and synthesize the biology, history, ecology, and applications of these two types of bacteria killers to better understand the treatment of bacterial infections today and what may come in the future. This course helps students understand current events and science relevant to their lives - such as on antibiotics and antibiotic resistance, emerging diseases (such as Ebola), and the human microbiome. No laboratory experience is required.

Prerequisites: FRSM-100

Lecture

Undergraduate Elective Fall & Spring

LAMS209 Wetlands Science and Policy 3cr

This course is intended as a rational approach to wetland conservation balanced with responsible development. People need to live somewhere and to draw water from somewhere. But wetlands serve many vital functions and oftentimes are highly valuable ecosystems that should be protected. In the course, students gain an interdisciplinary knowledge of wetland definitions, classification systems, origins, and natural processes of wetland environments. We discuss wetlands across the globe, including boreal, temperate, and tropical climates. We investigate hydrology, soils, and vegetation and their relationship to

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ecosystem processes, societal values, and management. We examine human use, modification, exploitation, jurisdictional delineation, and management options, along with legal and political aspects of wetlands. This is a broad course, also encompassing forestry, coastal management, energy, climate change, agriculture, history, and ecosystem succession. We will attempt four optional field trips, weather permitting, in our field experience weekend.

Prerequisites: FRSM-100

Lecture

Spring

LAMS267 Natural Disasters in a Global Environment 3cr

Do you have an interest in what causes natural disasters? Come join us! Natural disasters currently cost the world United States $175 billion USD per year. Fortunately, we have the knowledge to significantly reduce these costs.Unfortunately, political and cultural trends will cause disasters to occur more frequently and ferociously. This course provides an overview of the causes, locations, and effects of natural disasters. You can learn about: earthquakes,volcanoes, tsunami, wildfire, floods, landslides, pandemic diseases, hurricanes, tornadoes, famines and droughts,meteorite impacts, and climate change. We will investigate recovery and rebuilding efforts and how loss of life and property damage can be minimized by implementing scientific knowledge, through the lens of historical case studies, as well as lively, hands-on labs, and field trips!

Prerequisites: FRSM-100

Lecture

Fall

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LAMS300 Physics in Art 3 cr.

This course focuses on three major areas of Physics that can tremendously benefit an artist's appreciation of the scientific basis of their art. More specifically, we will learn about the physics of music, physics of light and color, and finally about the physics of photography. In physics of music, we will start from oscillations and will transition to waves, sound waves and harmonics, by focusing on two major types of musical instruments, i.e. wind instruments and string instruments.

In physics of light and color, we will discuss variety of relevant topics, including the nature of light, nature of color, additive color mixing and subtractive color mixing.

Finally, we will study the principles of Ray Optics and employ them to understand mirrors, lenses and finally physics of photography.

[Formerly titled Physics for Artists]

Prerequisites: FRSM100

Seminar

All College Elective Fall and Spring

LAMS301 Desert Ecology and Field Bioar 3cr

This research-based hybrid course will provide an introduction to the biodiversity and ecology of the deserts of the Southwest U.S. This course is a hands-on, novel exploration of the integration of science, technology, nature, and art. There is an optional camping field trip to the deserts of the Southwest in which we will utilize the natural habitat as our studio+lab to develop and explore creative methods of biological inquiry and hybrid, experimental art. Through scientific methodology, close observation, and art-making in the field, we will conduct novel research on ecological, behavioral, and morphological aspects of desert flora and fauna in their natural

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habitats. The unique wildlife and distinct habitats of the Southwest deserts have long been a source of wonder and inspiration for naturalists, biologists and artists. The

Chihuahuan, Sonoran, and Mojave Desert regions have the highest levels of species endemism in

North America. The starkly varied environments of state and national parks in the Chihuahuan,

Mojave, and Sonoran Deserts offer a unique opportunity for artists to get hands-on biological research experience in some of the world's most unique ecosystems. Participation in the camping field trip is strongly encouraged but is not required. Please contact instructor for more information.

Lecture

Fall

LAMS320 Environmental Science 3 cr.

A study of the principles of ecology, a science intertwining many biological and physical science disciplines. The course distinguishes the scientific, technological, and social domains. It treats complex human impacts and environmental concerns (such as biodiversity, population size, food and energy resources, air and water pollution, waste management, recycling, and sustainability) and raises issues of environmental ethics, risk assessment, and policy planning.

Prerequisites: FRSM100

Lecture/Seminar

All College Elective

LAMS322 Animal Sex, Biodiversity and Gender 3cr.

This course explores the vast diversity of reproductive and mating strategies, sex roles, gender and sexuality in animals and nature. This course takes an integrative and comparative approach to survey

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the diverse morphological, behavioral, physiological and ecological aspects of sex and reproduction. The course treats the evolution of sexual and asexual reproduction, focusing on ecological and evolutionary factors that influence and constrain biodiversity. Students critically examine the scientific evidence that supports and questions the framework of sexual selection and alternative theories. Students consider and evaluate traditional and emerging forms of scientific communication regarding evolutionary biology and sexual diversity.

Prerequisites: FRSM100

Lecture

Fall & Spring

LAMS324 Sustainabilty Science 3 cr

What is the nature of sustainability? How can we learn from and with nature, its biological diversity and ecosystems, to become more resilient? Practical examples, field visits, readings, and discussions will give students the opportunity to learn about emerging interdisciplinary sciences and solution-driven technologies based on green chemistry and biomimicry. Through explorations of the water-energy-food nexus, adaptations to climate change, and sea level rise, students can explore how we can become self-sustainable in the era of Anthropocene. The intention of the course is to give students a greater understanding of how science can inform public policies. In addition, attention will be paid to how science relates to art and design making, and vice versa.

Fall and Spring

LAMS327 The Science of Climate Change 3cr

Climate change impacts us all. The media bombards us daily with the effects, policy, and financial aspects of this phenomenon. Few students and lay persons however, understand completely the basic science of climate change. In this course, you will learn about the difference between climate change, the greenhouse effect, and global warming; the basic science of how our atmosphere formed, how it has changed through time, and how humans are impacting both weather and climate. Through a reading and critical-though based class, we will learn about and discuss (orally and in writing) the impacts of climate change on agriculture, weather, economics, and poorer nations. We will discuss how science needs to more clearly inform policy at national and global levels, grapple with

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the social justice element of weather-related phenomena in poorer nations, and will dispel common myths surrounding global warming. We will discuss techno-fixes designed to engineer the atmosphere to be cooler. Students will complete a research paper based on our readings and discussions that shows clearly what we can and should do about climate change. The class is solution-oriented (no doomsday thinking allowed), and we will conclude with discussing a mix of returning to a more harmonious way of obtaining our food and energy as well as the role technology plays (ex: GMO foods, green building, and renewable energy technologies) in our future. We will go on two field trips during class time, complete a series of laboratory/in-class exercises as small groups, and will attend lectures off campus.Climate change impacts us all. The media bombards us daily with the effects, policy, and financial aspects of this phenomenon. Few students and lay persons however, understand completely the basic science of climate change. In this course, you will learn about the difference between climate change, the greenhouse effect, and global warming; the basic science of how our atmosphere formed, how it has changed through time, and how humans are impacting both weather and climate. Through a reading and critical-though based class, we will learn about and discuss (orally and in writing) the impacts of climate change on agriculture, weather, economics, and poorer nations. We will discuss how science needs to more clearly inform policy at national and global levels, grapple with the social justice element of weather-related phenomena in poorer nations, and will dispel common myths surrounding global warming. We will discuss techno-fixes designed to engineer the atmosphere to be cooler. Students will complete a research paper based on our readings and discussions that shows clearly what we can and should do about climate change. The class is solution-oriented (no doomsday thinking allowed), and we will conclude with discussing a mix of returning to a more harmonious way of obtaining

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our food and energy as well as the role technology plays (ex: GMO foods, green building, and renewable energy technologies) in our future. We will go on two field trips during class time, complete a series of laboratory/in-class exercises as small groups, and will attend lectures off campus.

Lecture

Fall and Spring

LAMS352 Art & Mathematics 3cr

Through a survey of the central branches of mathematics, art and mathematics are studied as expressions of creativity, arising from a common source.

Prerequisites: FRSM-100 and LALW-100

Lecture

Fall

LAMS400 Directed Study Math/Science 3 cr.

A Liberal Arts directed study is a research project selected by a student in a Liberal Arts discipline. Typically, the study results in a research paper of thirty plus pages or the equivalent, as agreed upon by the faculty member supervising the project. Because of its advanced nature, a Liberal Arts LAMS directed study is open only to seniors and is limited to one per semester. No more than two Liberal Arts directed studies may be counted toward Liberal Arts degree requirements. Students seeking to register for a LAMS directed study must execute a directed study proposal form that describes the proposed project, includes a bibliography, and describes the final project. Liberal Arts directed studies proposals require the approval of the Liberal Arts Department chair.

Prerequisites: FRSM100

Lecture/Seminar

LAMS401 BioAesthetics and the Human Animal 3cr

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This course explores aesthetics in nature and the evolutionary processes of sensory drive and natural and sexual selection. The course will critically examine both anthropocentric and ecological schemes on the aesthetic diversity of nature, focusing on the creative agency of non-human organisms and objective and subjective models of inquiry. The course evaluates and challenges historical,contemporary and emerging perspectives on what is art, who/what can create it, and on interactions between the science and art. Through a combination of discussion, guest lectures and collaborative projects students will explore various topics focused around the biological and evolutionary bases of creativity, art and design.

Prerequisites: FRSM-100

Seminar

Spring

LAMS402 Eating and the Environment 3cr

Eating and the Environment focuses on the impact that our daily food purchases and consumption make on the environment and our health. In the class, we will examine major themes related to both industrialized and sustainable agriculture, including: soil resources and pollution; water and air pollution; pesticides, herbicides and fertilizers; the farm bill; tropical deforestation; food additives and nutritional supplements; food safety and emerging infectious diseases; meat and dairy sustainability ramifications; GMOs; and climate change. This course gives students the tools they need to understand what constitutes environmentally friendly and healthy food. Choosing these leads to a higher quality of life in many ways. There is no bigger impact on Earth than agriculture. And food consumption has the single largest impact on our health.

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Prerequisites: FRSM-100

Seminar

Spring

Liberal Arts: Social Sciences

LASS206 Seminar in Romanticism 3 cr.

What is Romanticism? To what areas of intellectual life does the term have reference? To art? Literature? Philosophy? Religion? History? Politics? The answer is yes to all the above, and then some. The seminar explores the nature of this immense cultural movement while focusing on the work of the great Romantic poets, writers and artists of the nineteenth century in Europe and America.

Prerequisites: LALW100; FRSM100

Lecture/Seminar

Undergraduate Elective

LASS208 Social Psychology 3 cr.

Social Psychology explores the behavior of individuals and groups in social contexts. In this course, emphasis is placed on how social aspects may be relevant to being an artistic individual in today's society. Topics include: How are our thoughts, feelings, and behavior influenced by the presence of other human beings? Can we manipulate someone else's opinion? Does self-fulfilling prophesy exist? What are social norms? Questions related to how a person's self-image develops, how individuals think about and react to the world, and how they understand themselves and others are explored. In addition, students learn about concepts such as impression and attitude formation, persuasion, pro- social behavior, prejudice and discrimination, obedience and compliance, aggression, group psychology, and personality

Prerequisites: LALW100; FRSM100

Lecture/Seminar

All College Elective

LASS211 The American Century 3 cr.

From the Spanish-Cuban-Filipino-American War to the present.

Prerequisites: LALW100; FRSM100

Lecture/Seminar

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All College Elective

LASS229 History of Jazz 3cr

The history of jazz music, people, and culture, from nineteenth century origins to today. A survey of major artists, groups, and periods, including New Orleans jazz, the Swing Era, Bebop, and other movements. Reading of historical sources and recent commentary inform the study of jazz in American society and global culture. Guided listening builds understanding of form and structure in this art form. No knowledge of music notation required.

Prerequisites: FRSM100

Lecture

Undergraduate Elective Fall & Spring

LASS230 Financial Literacy 3cr

Practical knowledge about personal finance (budgets and credit) and money management (banking and the ABCs of investing). Readings and discussion on current financial topics.

Prerequisites: LALW100 and FRSM100

Lecture

Undergraduate Elective

LASS230 Financial Literacy & Careers 3cr.

Practical knowledge about personal finance including taxes, credit, how to budget, save, and invest. Learn how to define your career goals to explore opportunities and successfully present yourself to the working world. [Formerly titles Financial Literacy]

Prerequisites: FRSM-100 and LALW-100

Fall and Spring

LASS232 Free Speech, Democracy and Artists 3cr

This course examines freedom of speech, a fundamental right indispensable to democracy and indispensable for artists. The tension between liberty and control of speech is central to many forms of media and artistic expression. The course examines speech broadly by examining topics such as: speech during wartime or in time of fear; hate speech; speech by students; and libel and slander. In addition, the course examines free speech controversies involving obscenity and pornography, or merely nudity,

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including controversies concerning artistic expression in film and literature. Students consider speech on television, the Internet, and social media. The course also treats symbolic expressions of speech, such as flag burning and painting; as well as campaign financing as speech. The course focuses primarily on U.S. law--most of the readings will be excerpts of U.S. Supreme Court cases--but the course includes a comparative component, incorporating laws regulating speech and expression in other nations.

Prerequisites: FRSM100, LALW100

Lecture

Undergraduate Elective Fall & Spring

LASS233 Music Cultures of the World 3cr

The course explores selected music and rhythms from throughout the world. Students explore various folk, popular, indigenous, and hybrid music from every continent and surveys the development of musical traditions through the development of contemporary world music. The course also treats several American musical traditions, including country, folk, and musical transmissions from Europe, expressive cultural traditions from indigenous peoples of America, and black musical traditions in the New World. This is a Liberal Arts course with required readings, written assignments, and listening work. Under a different course number and requiring different assignments, this course may also provide studio credit in selected studio departments. [Formerly titled: The World of Music]

Prerequisites: FRSM100. LALW100

Lecture

Undergraduate Elective Fall & Spring

LASS236 Music and Society 3cr

The course considers how music expresses and inspires social change. By examining the origin and inspiration of major works of classical music, such as Haydn's Farewell Symphony, Mozart's opera The Marriage of Figaro, Mendelssohn's Reformation Symphony, Stravinsky's The Rite of Spring, and Shostakovich's Babi Yar Symphony, the course considers what music reveals about history.

Prerequisites: FRSM100; LALW100

Lecture

Undergraduate Elective Fall & Spring

LASS241 Twentieth Century World History 3cr.

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World history from 1900 to 2001. The course introduces students to major events and major themes in twentieth century history, including world wars, the rise and fall of totalitarian philosophies and empires, economic contractions and expansions, colonial empires and liberation movement, antithetical internationalist, nationalist, regionalist, and faith-based movements, and the gradual process by which the machine age became the information world.

Prerequisites: LALW-100 & FRSM-100

Lecture

Undergraduate Elective Fall & Spring

LASS242 Film Music 3cr.

This course treats the evolution of film music from silent movies until the present. It introduces students to musical syntax, the aesthetics of film music, and the means by which composers synchronize music and script to convey mood and render action vivid. Working chronologically, the course explores the increasing importance of music in cinema and how music functions as an expressive element in a film. The course treats composers who wrote almost exclusively for the cinema (i.e., Charlie Chaplin and the contemporary John Williams), treats classical central European composers who migrated to the screen composition from wartime Europe (i.e., Korngold, Waxman, Alexandre Tansman, Bronislaw Kaper), and treats composer-director/producer collaborations such as Eisenstein-Prokofiev, Rota-Fellini/Visconti, and others. The course additionally treats the role of ethnic music (Morocco, India, China, Japan) in world cinema. Two term papers are assigned, one dealing with a composer-director partnership, the second treating the function of score in a major, iconic film such as Gone with the Wind. The textbook is Mervyn Cooke's A History of Film

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Music.

Prerequisites: LALW-100 & FRSM-100

Lecture

Undergraduate Elective Spring

LASS245 Cities and Society 3cr.

Cities are fascinatingly complex places, and for millennia people have flocked to them for a host of reasons. Some people have looked to cities as a way to escape the ennui of rural existence, some have gathered in cities for economic opportunity, and many others have arrived simply to be in close contact with different groups of people. Taking "the city" as our primary unit of analysis in this course, we will attempt to explore some of the major themes and processes that affect most urban areas, along with offering some historical perspective on the trends that have created "the city" as we find it today.

Prerequisites: LALW-100 & LALW-200

Fall and Spring

LASS248 Why Didn't I Learn This Before: (in Word and Video) 3cr

The information about things you've never learned is in plain view: in the media, in the books anyone can get in the bookstore or order on Amazon, in TV documentaries, in podcasts readily available online. The information is also on the ground, all around us: all over the cities we live in, in the store where we shop for food and clothes, in our neighborhood police station, in art galleries and museums.

Then why haven't I learned it all before???

Few Americans are able to honestly explain why some people have mansions, while others are served eviction notices and thrown out on the street with their families. And few can explain why the area around MassArt, for example, is pretty much all white, while Roxbury, only a few miles further east, is mostly black. Is it really just because people want to live close to people who look like them? The answers are everywhere, and yet they are hidden from view. In this course we will examine the questions, and the answers - in word and video.

[Formerly Titled The Hood: Life and History] [Formerly Titled White Privilege]

Prerequisites: FRSM-100 and LALW-100

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Lecture

Spring

LASS249 Queer Studies:Beyond Traditional Ideas of Gender and Sexuality 3cr

This class offers students a chance to ground their own artistic and academic projects in a working theoretical and practical knowledge of the discipline of Queer Studies; both the historiography and current work being done in the field. Our goal is to establish a classroom environment of mutual respect where queer ideas about artistic challenges and choices can be developed and shared in a supportive and safe academic and working environment grounded in solid social science methodology. We will examine the development and current state of the academic discipline of Queer Studies as it has emerged from both Women's Studies and Gender Studies. Our method will be to research both archival and current academic and multi-media sources to see where the field stands as an academic discipline but also as an applied paradigm for social justice and artistic action. Special attention will be paid to the development of connections between applied Queer Theory and artistic and life choices for today's working artist. The list of class materials will be fluid and inter-disciplinary and rely on input and research from all class members, reflecting the core nature of the discipline itself.

Prerequisites: FRSM-100 and LALW-100

Lecture

Spring

LASS250 Philosophy of Religion 3cr

The course explores the concept of God and the sacred, the grounds forand challenges to religious belief, the credentials of mystical experience, the implications of religious pluralism, and the idea of a religiously ambiguous world. Readings will be drawn from classical and contemporary thinkers.

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Prerequisites: FRSM-100 and LALW-100

Seminar

Spring

LASS253 East Asia: Modernity Redefined 3cr

With astonishing rapidity, the nations of East Asia have emerged as an imposing presence on the world stage. Their rich and varied cultures have influenced other regions of the world in ways that have helped to redefine modernity. Along with the recent US strategic shift to the

Asia-Pacific, it has become imperative in our time to study modern East Asia and to understand its impact on global politics and culture and its relevance to our daily lives. This course follows the main themes in East Asian history since 1600, focusing primarily on China, Japan, Korea, and

Vietnam. We will study long-term changes and continuities in East Asian society, politics, culture, art, and economy. We will also study the dramatic changes that have taken place in East

Asia's relationship with the rest of the world.

Classes will combine lectures with class discussions, presentations, and films.

Lecture

Fall

LASS254 Immigration and Race in the USA: The American Experience 3cr

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Often portrayed as a "nation of immigrants" with ample and equal opportunities for the "huddled masses," the United States has a long and complicated history of immigration marked not always by open doors but rather by exclusion, marginalization, and contestation. Immigration has helped define American national identity, and it continues shaping its political debates, economic patterns, social transformations, and cultural life. It has become even more salient and contentious since the 2016 presidential election. This class places contemporary immigration debates in historical context and provides a systematic review of American immigration history in local, national and global contexts. We will start with the early stages of immigration since the colonial era and then place the great waves of European, Asian, and Mexican immigration during the nineteenth and early twentieth centuries in the context of comparable and relatable global migrations across the world. We will discuss the rise of federal laws on immigration in the late 19th century and the tightened immigration control and restriction in the early 20th century, followed by the impacts of WWII and the ensuing Cold War on immigration. The rest of the class will focus on the more recent immigrant and refugee communities from Southeast Asia, Latin America, and Africa, highlighting the changing patterns of migration since the 1965 immigration reform (including the changes in post-9/11 America).

Lecture

Spring

LASS280 Introduction to Psychology 3 cr.

An examination of the dynamics of the self from the interpretative, clinical perspective. The course discusses the growth and the making of the "solid self" and explores the influences that can further or hinder the constitution of a coherent, stable personality. Narcissistic disorders, the most common psychic disorders of our time, are also addressed.

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Prerequisites: LALW100; FRSM100

Lecture/Seminar

All College Elective Fall/Spring

LASS281 Psychology of Flourishing 3 cr.

This course examines the human potential for growth and flourishing as well as for resiliency. Traditionally, psychologists have aimed at helping individuals notice and fix unwanted or dysfunctional habits, uncover and repair unfortunate or traumatic childhood experiences, or calibrate damaged brain chemistry. Rather than focusing on human weakness and dysfunction, this class explores the human condition from a positive psychology perspective. Students study concepts such as hope, happiness, optimism, and resiliency, and surveys human core character strengths and virtues.

Prerequisites: LALW100; FRSM100

Lecture/Seminar

All College Elective

LASS300 Race in America 3 cr.

How did various peoples from America, Africa, and Europe, speaking different languages and possessing different cultures, come to be defined as "red", "black", and "white," and how did later immigrants or conquered peoples from Asia and the western hemisphere get fitted into this scheme? This class examines how race categories were formed in the colonial period and have been repeatedly remade up to the present.

Prerequisites: LALW100; FRSM100

Lecture/Seminar

All College Elective

LASS302 Gender, Class and Race in American Film 3 cr.

This class analyzes film as an important part of mass culture. The course is a social science course, not a "film viewing" one. It treats sociological themes such as gender, class, and race as these themes are reflected in the actions of the film's characters; in their relations with other characters; in their expectations, hopes, and dreams; and, implicitly, in the film's cinematic, visual aspects.

Prerequisites: LALW100; FRSM100

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Lecture/Seminar

All College Elective

LASS307 Medieval and Renaissance History 3cr

This course encompasses no less than twelve centuries of European history extending from the last decades of the Roman Empire in the West to what is often referred to as the Early Modern period (I.e., the 16th century), the era characterized by the rise of powerful centralized monarchical states and empires. Throughout, a determined effort is made to precisely define broad historical concepts such as "civilizations" and "intellectual revolutions." For example, we will ask what particular historical and cultural elements made the Medieval West a distinct civilization? In the same manner, what presumably different and distinct elements formed and shaped the civilization of Byzantium? What was the Renaissance, both in Italy, and north and west of the Alps? Where and how does the Renaissance intersect with the Reformation and the Reconnaissance, enormously significant historical phenomena in themselves?

Prerequisites: LALW100, FRSM100

Lecture

Undergraduate Elective Fall & Spring

LASS308 Narcissism, Aggression and Creativity 3cr

Are we really capable of falling in love with an image of ourselves, as in the story of Echo and Narcissus? If so, what are the consequences? Do contemporary cultural themes cast a light on the story? What impulses motivate these thoughts and processes? This course utilizes a psychoanalytic approach to discover and analyze themes that emerge from an awareness of creative impulses. What blocks them? What role does aggression play in the responsiveness to the creative impulse? Psychoanalytic literature, in combination with contemporary themes, questions and illuminates the art making process.

Prerequisites: LALW100, FRSM100

Lecture

Undergraduate Elective Fall

LASS309 History of Modern Europe 3 cr.

A comprehensive overview of the last four centuries of European history. The course surveys political and international history, social history, and intellectual history. Students gain a deep appreciation for the rich complexity of European civilization and an understanding of the continuity of events from the

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seventeenth century onward.

Prerequisites: LALW100; FRSM100

Lecture/Seminar

All College Elective

LASS312 Technology and Language 3cr

The course investigates the relationship of languages of expression to tools and communication technologies. Through interdisciplinary exploration of various modes and practices, from the language of typography, audio/visual expression, to dynamic languages of interaction, social media and crowd sourcing, students gain knowledge and understanding of current issues of social communication in the context of dynamic media technology. The course introduces students to recent developments, theory and criticism of communication design and technology through selected case studies involving the work of historical and contemporary inventors, designers, artists and new media innovators.

Prerequisites: LALW100,FRSM100

Lecture

Undergraduate Elective Fall

LASS314 Race Uncut:America in Black and White 3cr

How do race and class operate not just in categorizing people, but in maintaining and reproducing the socioeconomic life and in shaping common experience of history and present. We will focus on African Americans and white Americans and discuss what race means, and what class means -- historically, culturally, and economically -- in the context of the American dream. 6 cinematic representations will serve us as prompts to examine in depth selected historical themes, from the Civil War to the present. [Formerly Titled Race,Class and the American Dream]

Prerequisites: LALW-100 and FRSM-100

Lecture

Undergraduate Elective Fall and Spring

LASS315 Cultural Cold War 3cr.

From an ideological weapon to an instrument of peaceful understanding, the role of culture in the Cold War has recently become a topic of much study and debate. This course will go beyond the

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traditional parameters of the Cold War as a Soviet-American conflict fought through high politics, the space race, and limited hot wars, by examining the political,diplomatic, social, and imperial utilization of and impact on culture in Britain, the US, the Soviet Union, China, and their respective empires. The course will consider official policies like the Soviet VOKS (Society for Cultural Relations with Foreign Countries) and exchange programs in arts and education as well as processes like tourism, literature, film,consumerism, and sport.

Prerequisites: LALW-200

Spring Only

LASS318 Seminar: Reading Marx 3 cr.

A critical reading and discussion of some of Karl Marx's writings on history, philosophy and society, plus commentary.

Prerequisites: LALW100; FRSM100; LALW200

Lecture/Seminar

All College Elective

LASS320 Fashion and Culture 3cr.

Fashion is both a reflection of and influence on culture. This course can examine clothing in context, exploring the phenomenon of fashion in terms of technological developments, aesthetics, and body politics (gender, race, sexuality, and class) as well as its connection to cultural identity and the global economy. Focusing the examination on specific key moments in fashion history from the French Revolution to today, the course will foster critical thinking and writing about fashion from a multidisciplinary perspective. The meaning of fashion at these select and pivotal historical periods will be gleaned through diverse sources - fiction, diaries, paintings, histories, and design theory- and be complemented by direct examination of objects.

Prerequisites: LALW-100 & FRSM-100

Fall Only

LASS323 Minds,Brains&Consciousness 3cr

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with a naturalistic, scientific world view? Is the mind really just a kind of computer, a machine made of meat? What is thinking, and can computers do it? In this course, we will investigate what Francis Crick has called the Astonishing Hypothesis-"that "You," your joys and your sorrows, your memories and your ambitions, your sense of personal identity and free will, are in fact no more than the behavior of a vast assembly of nerve cells and their associated molecules.

Prerequisites: FRSM-100 and LALW-100

Lecture

Fall and Spring

LASS325 Gender Identity and the F-Word(feminism) 3cr

What does it mean to call oneself (or someone else) a 'feminist'? How does gender intersect with other social hierarchies to shape both how we see, and how we are seen by, others? In this advanced undergraduate elective, we will consider efforts to reveal, unravel, and remedy the conceptual, psychological, and economic dimensions of gender oppression. We will examine the intersection of sexism with racism, heterosexism, and class exploitation, and investigate the role of the concept of difference in creating and maintaining structural inequalities.

Prerequisites: FRSM-100 and LALW-100

Lecture

Spring

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LASS326 American Slavery 3cr

This survey history course provides a broad overview of the origins and evolution of American slavery. Lectures provide historical context for analysis of a wide range of documents and films analyzing the construction of laws defining American slavery, religious ethos of slaves, gender identities, resistance, slave culture, the role of free people of color in the period of the American slave regime, the coming of the Civil War, and the aftermath of emancipation.

Lecture

Spring

LASS360 Memory and Dreams 3 cr.

This course explores the intersecting realms of memory and dream. Dreaming is an entirely subjective experience, but how objective is remembering? How do we understand phenomena like post-traumatic or implanted or false memories? How can culture construct our memories--and our forgettings--for us? How can we separate identity from memory and either from forms of fiction? The world of dream: is it meaningful, nonsense, prophetic, usable? This course treats current neuroscience and neuropsychology, film clips, case histories, fiction, and analytic theory. In preparation for the final project, students keep a nightly dream journal. The course treats the nature of consciousness and subjectivity, the existence of a coherent self over time, and the creative uses to which memory and dream may be put.

Prerequisites: LALW100, FRSM100

Lecture/Seminar

All College Elective

LASS401 On Truth and Value 3 cr.

The course is organized around the following core questions: What is truth and is it attainable? Why is truth important? How do we get to know objective reality? What is a "good life" in the ethical sense, and why should one desire to live a "good life?"

Prerequisites: LALW100, FRSM100

Lecture/Seminar

All College Elective

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LASS402 Minds,Brains&Consciousness 3 cr.

What is the mind? Some of history's most profound thinkers have attempted to answer this question, yet the nature of the mind remains elusive and hotly debated in contemporary philosophy. Can the mysteries of conscious experience be reconciled with a naturalistic, scientific world view? Is the mind really just a kind of computer, a machine made of meat? What is thinking, and can computers do it? In this course, we will investigate what Francis Crick has called the Astonishing Hypothesis-"that "You," your joys and your sorrows, your memories and your ambitions, your sense of personal identity and free will, are in fact no more than the behavior of a vast assembly of nerve cells and their associated molecules."

Prerequisites: LALW-100 and FRSM-100

Lecture

Fall

LASS403 Us/China: Ties Or Clashes 3cr

This course explores the relationship between China and the United States from its beginning to the present. Unlike conventional narratives of Sino-U.S. relations focusing on politics and diplomatic relations, this course will cover more broadly social, cultural,and economic interactions, such as mutual perceptions and images,cultural/educational exchanges, migration and foreign policies, and international trade. Accordingly, we will look at a wide array of individuals and institutions such as missionaries, educators, merchants, migrants, non-government organizations, corporations and mass media rather than nation-states as the sole actors on the stage. We will place China and the United States in their regional and historical contexts while focusing on the interactive dynamic to show how their relations shaped their own histories as well as the global history. This course is to help students develop a solid understanding of the evolution of Sino-U.S. relations over time as well as a sharp and well informed perspective on current challenges and opportunities, especially the new face of Sino-U.S.relations with China's rise as a major economic powerhouse and the repositioning of the United States in the world. In addition to learning about the substance of these facets of Sino-U.S. relations, the course is designed to teach several important skills to students: informed reading of various types of sources, historical and critical thinking, policy analysis and debates,oral presentation and writing, and teamwork. Different assignments are designed to develop and advance these skills.[Formelry titled China-U.S. Relations]

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Prerequisites: FRSM-100 and LALW-100

Seminar

Fall

LASS404 Asian Diaspora and American Experience 3cr

This course surveys Asian American history (1850- present) from international and global perspectives. It starts with the massive migrations of different Asian groups to the U.S. from the Gold Rush to WWII, focusing on themes such as colonialism, imperialism, labor, communities, legal exclusion, and foreign policies. Then it moves on to the great changes within the Asian American community since 1965 and how Asian Americans are changing American society and the relations between the United States and Asia.

Prerequisites: LALW-100 and FRSM-100

Seminar

Spring

LASS406 Seminar on Romanticism 3cr

A seminar in the study of Romanticism in Europe and America in the late 18th and early 19th century.

Prerequisites: LALW-100, FRSM-100 and LALW-200

Seminar

Fall

Photography

MPPH100 Intro Photo for Non-Majors 3 cr.

A beginning course for students with an interest in creative work and study in black and white photography. Teaches exposure controls, camera operation and rudimentary film development and

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printing.

Hybrid Studio/Critique

All College Elective

MPPH206 Introduction to Digital Photography for Non-Majors 3 cr.

An introduction to the digital darkroom that offers a solid foundation in digital imaging skills. Technical focus is on the current array of input, editing and output options. The content of student work is addressed in periodic critiques, and class discussions emphasize the role of the computer in contemporary photography.

Hybrid Studio/Critique

All College Elective

MPPH214 Drawing With Light 3cr

Drawing with Light introduces students to making cameraless photographs in combination with collage, assemblage, and hand-applied elements including drawing. Students use photographic techniques such as photograms and the camera obscura as departure points for investigations of the line, value, shape, texture and space.

Hybrid studio Critique

Fall and Spring

MPPH240 Sophomore Major Studio I 6 cr.

This required sophomore course is the first in the progression of major studio/hybrid seminars in photography. The course addresses the aesthetic and technical dimensions of contemporary practice in black and white analog photography. Proficiency in B&W darkroom techniques is emphasized. At the discretion of the instructor, the class will concentrate on the use of either 4X5 view cameras or small/medium format cameras for the semester. Weekly assignments and critiques familiarize students with the importance of this equipment in contemporary practice as well as the history of the medium. Slide presentations and field trips are combined with the principles of optics, cameras, film, photographic chemistry and darkroom technique. Studetns are required to attend the regular lecture series that occurs within the limits of scheduled course contact hours.

Prerequisites: Majors Only

Hybrid Studio/Critique

Departmental Requirement Fall

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MPPH241 Sophomore Major Studio II 6 cr.

This required sophomore course is the second in the progression of major studio/hybrid seminars in photography. The course builds upon the base of knowledge students gained about black and white analog photography in Sophomore Major Studio I. Advanced B&W darkroom techniques and fine silver gelatin printing are emphasized. The class concentrates on the use of the camera format they were not exposed to in Sophomore Major Studio 4X5 view cameras or small/medium format cameras- for the semester. Weekly assignments and critiques familiarize students with the importance of this equipment in contemporary practive as well as in the history of the medium. Slide presentations and field trips are combined with principles of optics, cameras, film, photographic chemistry and darkroom technique. Students are required to attend the regular lecture series that occurs within the limits of scheduled course contact hours.

Prerequisites: MPPH241

Hybrid Studio/Critique

Departmental Requirement Spring

MPPH280 Sophomore Studio/Medium Format 6cr

This required sophomore course is the first in the progression of major studio/hybrid seminars in photography. The course builds a base of knowledge about black and white analog photography. Black and white darkroom techniques and fine silver gelatin printing are emphasized. The class concentrates on the use of the medium format camera. Weekly assignments and critiques familiarize students with contemporary photographic practice, as well as in the history of the medium. Slide presentations and field trips are combined with principles of optics, cameras, film, photographic chemistry, and darkroom techniques. [Previously titled Soph. Studio I]

Seminar Hybrid

Dept Requirement Fall and Spring

MPPH281 Sophomore Studio/Large Format 6cr

This required sophomore course is the second in the progression of major studio/hybrid seminars in photography. The course addresses the aesthetic and technical dimensions of contemporary practice in black and white analog photography. Advanced black and white darkroom techniques are emphasized. The class will concentrate on the use of the 4X5 view camera. Weekly assignments and critiques familiarize students with the importance of this equipment in contemporary practice as well as the history of he medium. Slide presentations and field trips are combined with the principles of optics, cameras, film, photographic chemistry, and darkroom techniques. [Formerly titled Soph. Major Studio II]

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Seminar Hybrid

Dept Requirement Fall and Spring

MPPH303 Alternative Camera, Alternative Techniques 3 cr.

An introduction to non-silver processes such as palladium and cyanotype printing and to unusual types of cameras including plastic cameras, pinholes, and others. This class will include regular demonstrations as well as critique and research techniques for seeking out unusual photographic materials.

Prerequisites: Open to Sophomores, Juniors, and Seniors

Critique

Departmental Elective

MPPH304 Lighting for Photography 3 cr.

This course is designed to introduce students to the fundamentals of photographic lighting. Students will explore the uses of strobe, tungsten and ambient light in both studio and location settings. Classes will consist of lectures on a wide array of approaches to the use of lighting, in-class demonstrations, and critique of student work. Over the course of the semester we will endeavor to create a collaborative conversation regarding the use of lighting and its integral relationship to the photographic image.

Prerequisites: Open to Soph, Junior, and Senior Only

Critique

MPPH323 Topics in Photography 3 cr.

Courses with this title offer in-depth studies of special topics in photography. Past seminars have included "Ways of Seeing", "Photo Book Making", "Portrait", and "Afterlife: Professional Practices in Photography".

Prerequisites: MPPH240 and MPPH-241 or permission of instructor

Critique

Departmental Elective

MPPH350 Visiting Artist Seminar 3 cr.

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This course introduces students to leading practitioners in the field of contemporary photography through frequent lectures by visiting artists, historians, and curators. The course also includes readings and discussion, film screenings, slide lectures, and visits to area exhibitions.

Prerequisites: concurrent enrollment in Junior Projects, Senior Projects or Senior Thesis

Lecture/Seminar

Departmental Requirement Fall/Spring

MPPH360 Major Studio: Digital Photography 6 cr.

This course is a rigorous introduction to the digital tools available to photographers. The class covers a wide array of topics, with emphasis placed on digital image capture and the use of the computer as a parallel tool to traditional photographic practices. Weekly critiques address students' aesthetic and technical progress and are supplemented by readings, lectures, and discussions that evaluate the role of the computer in contemporary photography. Students are meant to develop a solid understanding of these digital imaging practices as well as an adaptable approach to emerging technologies.

Prerequisites: MPPH260 and MPPH261

Seminar/Hybrid

Departmental Requirement Fall

MPPH361 Junior Projects 3 cr.

In this required course, students develop and refine a personal vision of their own through long-term photography based projects, more advanced technical knowledge, and a deeper familiarity with uses of the medium. Weekly critiques, slide presentations and group discussions are important elements of this class.

Prerequisites: MPPH260, MPPH261, MPPH360 and concurrent enrollment with the same instructor in MPPH350critique

Departmental Requirement Spring

MPPH374 Photo: Documentary 3 cr.

This course provides an overview of the history, theory, and politics implied in making documentary work. Assignments and weekly critiques of student projects will encourage our greater understanding of the world and of the photographic language of documentary. By the end of the semester, students will produce a coherent body of work following a specific subject chosen in consultation with the instructor.

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Related readings, discussions, and slide presentations will be introduced. Formely titled: Documentary Seminar

Prerequisites: MPPH240 or MPPH241

Critique

Departmental Elective Fall & Spring

MPPH377 Landscape Photo 3 cr.

A course designed to explore the contemporary landscape, both with the camera and through readings on the land and on environmental concerns. Emphasis is on student photographic work, discussion of imagery and literature, and developing a personal perspective on the human relationship to the land.

Prerequisites: MPPH240 and MPPH241 or permission of instructor.

Critique

Fall/Spring

MPPH379 Image and Object 3 cr.

Image and Object is a cross-media course that examines some of the possible intersections of photography and sculpture. The course will provide demonstrations of a number of photographic and sculptural processes, lectures about artists who work with both mediums as well as critiques, field trips and visiting artists. The emphasis in this course will be on making hybrid objects, on the development of individual projects and critiques.

Prerequisites: Open to Sophomores, Juniors, and Seniors

Hybrid Studio/Critique

All College Elective

MPPH392 PH Course Assistantship

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no more than two such assistantships may count toward degree requirements. Students selected by faculty to be course assistants submit a Course Assistantship form with the faculty and chair's signatures to the Registrar during registration and no later than the end of the Add/Drop period. Students who are performing a Teaching Assistantship should follow Independent Study procedures

Prerequisites: By Permission of the Instructor

Fall/Spring

MPPH398 PH Internship 3 cr.

Prerequisites: By Permission of Instructor

Fall/Spring

MPPH399 PH Independent Study 3 cr.

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Independent Study forms, with faculty and the chair's signatures, should be submitted to the Registrar during registration and not later than the Add/Drop deadline.

Prerequisites: By Permission of Instructor

Fall/Spring

MPPH406 Polaroid 20X24 3 cr.

This course is centered on using the specialized Polaroid 20X24 camera. Students work directly with the instructor to create work based in the studio. Students will learn lighting and collaborative techniques unique to the Polaroid.

Undergraduate Elective Spring

MPPH450 Visiting Artist Seminar 3 cr.

This course introduces students to leading practitioners in the field of contemporary photography. Talks by visiting artists, historians and curators are organized by Instructors. On alternate weeks, the course breaks into sections to discuss the previous week's lecture, assigned readings, view additional materials, or visit area exhibitions.

Prerequisites: enrollment with the same instructor in MPPH361, MPPH460 or MPPH461

Lecture/Seminar

Departmental Requirement Fall

MPPH460 Senior Projects 3 cr.

Students develop a specific project to be worked on throughout the semester and formally presented at final review. Weekly critiques of student work will be the emphasis of the course with time dedicated to developing artist statements, a written thesis paper, and preparation for a career in photography.

Prerequisites: MPPH260, MPPH261, MPPH360, MPPH361 and concurrent enrollment with the same instructor in MPPH450

Critique

Departmental Requirement Fall

MPPH461 Senior Thesis 3 cr.

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In the final semester of the major, students are expected to complete a body of work, participate in a class exhibition, finalize a written thesis and complete preparation for pursuing a career in photography. The class will consist of critique, slide lecturers, student presentations, and discussions on assigned readings.

Prerequisites: MPPH260, MPPH261, MPPH360, MPPH361, MPPH460 and concurrent enrollment with the same instructor in MPPH450

Critique

Departmental Requirement Spring

Studio for Interrelated Media

MPSM204 Lighting for Events and Installations 3 cr.

This course will explore the use of theatrical and commercial lighting, dimming and control units. The class will visit professional installations to learn the hardware and safety practices from working technicians. Students will design and build their own class projects.

Hybrid Studio/Critique

All College Elective

MPSM205 Stagecraft & Technical Production 3 cr.

This course aims to demystify basic lighting, rigging, sound and staging practices. Technical workshops will be conducted during class time where students work in teams to complete assignments. Demonstrations and lectures also include site planning, power distribution, and safety in the workspace. Students will prepare and present their own personal projects using the class as crew and SIM's technology.

Hybrid Studio/Critique

All College Elective Fall

MPSM207 Beat Research 3 cr.

This is a studio course about electronic music and culture. Students explore the techniques of sampling, sequencing and drum programming using current music making software including Reason and Ableton Live. Most assignments involve the creation of music/sound but we also address techniques of video production and performance.

Hybrid Studio/Critique

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All College Elective

MPSM209 Light as a Sculptural Element 3 cr.

To explore light as a sculptural element in art making, this class will focus primarily on the application of light as a transformative medium in all visual art practices. The class will examine the works of artists such as Thomas Wilfred, James Turrell, Ann Hamilton, Won Ju Lim, Diana Thater, Wolfgang Laib, Cai Guo-Qiang, Robert Irwin, Shirin Neshat, Bill Viola, Olafur Eliasson and many others. This course is designed to familiarize the student with a wide variation of art practices and to encourage a sense of discovery in relation to the medium of light and in everyday observations.

Hybrid Studio/Critique

All College Elective

MPSM211 Interrelated Media Practice 3 cr.

This is a critique studio course where students produce and present interrelated media artworks in progress and/or in final form. The course is closely modeled after the Studio for Interrelated Media Major Studio course, but with a smaller class size. Additionally, rotating faculty also present emerging topics related to interrelated media for discussion and exploration. For SIM Majors, this course provides a more intimate setting to work through artworks in progress. For Non-majors, it is an opportunity to expand one's artistic practice, interact with artists from other disciplines, and refine public speaking skills. There is no prerequisite and it is an open elective.

Hybrid Studio/Critique

All College Elective Fall/Spring

MPSM221 Interdisciplinary Video 3cr

This is a studio course in which students learn the basics of video production - from shooting to editing to the use of effects and finally publishing/screening final works. The class explores the inclusion of video in installations,

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live performance, and other experimental applications. The contemporary practice of video production is presented within the historical context of the moving image from silent films up to the modern Youtube era. Additionally, introductory video mapping technologies and video sound techniques are presented. The course combines lectures, demonstrations, workshops, visiting artists, and both collaborative and individual assignments.

Hybrid Studio Critique

Undergraduate Elective Every Other Fall

MPSM222 We Are Pirates! : Appropriation, Decomposition and Interrelated Media 3cr

Appropriation, modification and trafficking of imagesacross networks, systems and digital devices have become a mass ritual of contemporary social participation. While large media conglomerates make professional use of post production tools for editing and enhancing each and every image to which we are exposed daily, a large sector of the population responds to this environment of saturation by appropriating and trafficking memes, video, animation and amateur photography.

Where do artists and designers fit within this exchange?

What are the creative tools involved in the market of piracy and uncreativity? Who owns the images and cultural products we share everyday?

Students in this class explore the basics of

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design fundamentals through a series of decompositional exercises devoted to learning the digital tools involved in the manipulation of existing media, along with a series of lectures and readings on piracy, originality and contemporary art and design practices. The class aims to stir the imagination of the group and invite students to embrace piracy as a learning process where applications for digital production appear as critical tools with a potential to respond to their mere commercial use.

Hybrid Studio Critique

Fall

MPSM272 Sound Performance 3 cr.

Students will learn elements of sound performance, technical considerations including vocal techniques, content development and presentational context. Students present live sound pieces on a weekly basis.

Critique

All College Elective

MPSM273 Intro to Sound Studio 3 cr.

Students will learn principles of electroacoustic and digital sound processing, including audio recording, editing, mixing, and signal processing techniques. Students are required to present "live" or recorded sound pieces. Sound studio includes analog and digital synthesis, analog and digital recording and editing systems, signal processors. Weekly assignments. Fall term only.

Hybrid Studio/Critique

All College Elective

MPSM276 Studio for Interrelated Media/Major Studio 3 cr.

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This is the first year of the Major Studio class (2 semesters of MPSM276 required) in SIM in which individuals and groups present and discuss work in media of their choice such as audio, video, computer, performance, publishing, and production of events that interrelate media. Each week, student presentations of work are organized into performances and exhibitions produced by students who select, schedule and technically support the presentation. In this first year of SIM, students are required to complete all components of a sophomore review board. While students register for different sections of the course each year, each section shares the same space, time and faculty so that all SIM majors are able to meet each other, collaborate, mentor and critique each other's work. SIM Majors are required to take 6 semesters of SIM Major studio in total. 2 MPSM276 (Sophomore year), 2 MPSM376 (Junior year) and 2 MPSM476 (Senior year).

Prerequisites: SIM majors only. Take two semesters of this course.

Hybrid Studio/Critique

Departmental Requirement Fall and Spring

MPSM277 The Moving Body 3 cr.

Movement is basic to all life, from the atomic to the astronomic level. This course explores the human body as an instrument for making art in space and time. Students will practice various physical disciplines based on contemporary dance techniques, yoga, and contact improvisation for example. They will be encouraged to observe movement in the world around them as source material. Students will work individually and in groups to create their own movement pieces. In-depth critiques, discussion, and revision of works will reinforce the importance of process in this class. Students will complete several short assignments as well as one final movement project of their own choosing. This course will also consider sound, objects, and environments in relation to movement. Students will be encouraged to make direct relations between their principal fields of artistic interest and time-based performance. Some readings and video will be included to introduce students to the various forms that movement has taken in twentieth century live art.

Hybrid Studio/Critique

MPSM307 On the Spot 3 cr.

As human beings, we carry with us precious instruments for expression - the body and the voice. This course explores perception - looking and listening - as a tool for making instantaneous performance choices. We will work through a series of improvisational techniques from concepts of "action theater" to contact improvisation. Students will work individually, in duets, and in groups to explore gesture, space, time, energy, intention and the voice. We will experiment with the voice by "sounding" as well as by speaking. The course may also consider objects and environments in relation to performance. Students will be encouraged to make direct relations between their principal fields of artistic interest and time-based, improvisational performance. Some readings and video may be included to introduce students to the various forms that improvisation has taken in twenty-first century live art.

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Hybrid Studio/Critique

All College Elective

MPSM311 Elec.Projects/Artists/Digital 3 cr.

This course introduces students to computer interfaces for connecting interactive sculpture, performance and installation with software. Course content includes microcontrollers, electrical sensors, custom-made circuits and programming. No previous programming experience is necessary.

Prerequisites: MPSM-310 strongly advised but not required.

Hybrid Studio/Critique

All College Elective

MPSM313X Beat Research II 3 cr.

This course is designed for students who have already taken Beat Research I and wish to continue making art in a community of Beatmakers and electronic musicians. Emphasis will be on critiques, the sharing of advanced techniques and the organizing of media for presentation outside of the class (audio CD, video DVD, live performance etc)

Prerequisites: MPSM207

Hybrid Studio/Critique

All College Elective

MPSM317 Event Planning and Production II 3 cr.

This is the second semester of a year-long course. This course is for those that are actively involved in organizing and producing events and exhibitions throughout the year. However the emphasis is on events that are complex enough that they require at least a year to plan. It is required for Eventworks producers and Godine Family gallery managers. Students will meet with the instructor one-on-one throughout the semester, additionally the class will meet periodically as a group to discuss general production issues. It is also open to those not involved in Eventworks or Godine Gallery but that have another event(s) in mind. By permission of instructor. This is a one-year long course.

Prerequisites: MPSM 319X Event Planning and Production

Lecture/Seminar

MPSM336 Events Planning and Production 3 cr.

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This course is for those that are actively involved in organizing and producing events and exhibitions throughout the year. It is required for Eventworks Producers and Godine Family Gallery Managers. Students will meet with the instructor one on one throughout the semester, additionally the class will meet periodically as a group to discuss general production issues. It is also open to those not involved in Eventworks or Godine Gallery but that have another event (s) in mind.

Prerequisites: by permission of instructor

Hybrid Studio/Critique

MPSM337 Electronic Projects for Artists 3 cr.

The purpose of this studio course is to provide skills and information that will be useful for artists who use electronic devices in their artworks.

Hybrid Studio/Critique

All College Elective

MPSM338 Adv.Techniques/Sound Pro 3cr.

This is a sound production course offering advanced experience in sound recording and studio techniques. Students will have the opportunity to work with multi-track recording, signal processing, mastering techniques and surround sound production. Both the technical and aesthetic aspects of creating sound works for a variety of mediums including music production, sound art, installation and sound for moving image will be covered. Students will produce and critique their work in the both the SIM Sound Studio, Design and Media Center and with the Pozen surround sound systems. The course will included tutorials, individual exercises, group projects, and guests from the sound production field.

Prerequisites: MPSM273

Spring Only

MPSM342 Methods & Design/Art Exhibition 3 cr.

In this course, students will be guided through the design/build fundamentals of installing an art exhibit, preparing artwork for installation and the construction methods used in producing exhibitions. Students will have the opportunity to learn new skills that can be applied to preparing and installing their own artwork. The course, which takes place in a classroom and gallery setting, will start with an introduction

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to the fundamentals (hardware, tools, understanding basic floor plans, construction, fabrication, sustainable materials, shipping, lighting and basic A/V installation) followed by a study of concept and design processes (exhibit design, curation, registration), installation procedures and finally, install/de-install a professional exhibit at MassArt's Bakalar and Paine Galleries.

Hybrid Studio/Critique

All College Elective Fall/Spring

MPSM345 Internet Culture & Technology 3 cr.

This course will explore topics related to artists' use of the Internet as a medium for creative production and distribution. Lectures and discussions will cover topics relevant to artists' work on the Web including: social media, the free software movement, censorship, humor, streaming media, Net Neutrality, tele- robotics, programming and web- based multimedia. Techniques for creating web content will be demonstrated using commercial and free software. Some examples will involve writing code, but no previous programming experience is assumed. All students will be required to create a website as a final project and after being given options, they will be free to choose methods and content most appropriate for their own process in the creation of work.

Hybrid Studio/Critique

All College Elective Fall

MPSM346 Interdisciplinary Projects in Sustainability 3 cr.

Sustainable art and design focuses on how to leave our future more just,healthy and environmentally stable than it is today. Through careful consideration of materials,lifecycles,subjects, audiences,economies,and many other aspects of daily life, we will imagine and make projects that address significant issues resulting from

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environmental impacts on human and animal societies. Open to students from all departments, this course focuses on developing projects in nterdisciplinary studio settings that address issues of sustainability on our campus,in our city,and in the larger global context. Research practices,collaboration and charrette forms will be explored through a series of assignments leading up to a half semester independent project.

Through readings,field trips,studio vosots and critique,we will learn about revolutionary projects in sustainability in design and art fields today. Open to juniors and seniors, this class will allow students to work in the medium of their choice while focusing on research and development in the area of sustainability.

Hybrid Studio/Critique

Undergraduate Elective Spring

MPSM349 Performance, Art & Politics 3 cr.

In this studio course, students will be introduced to historical examples of politically-engaged performance art as a context for creating their own work. This will include the creation of original performance art works by adapting techniques which were developed by the Czech Underground which built a platform for the artists-run "Velvet Revolution" of 1989. For students without experience in video, the course will also introduce the basic tools and principles of video production.

Hybrid Studio/Critique

All College Elective

MPSM357 Experimental Ensembles 3cr.

Experimental Ensembles is an opportunity for students to collaborate in significant ways on works that involve various groupings of student ensembles engaging in collective actions that are both performance and non-performance based. The class explores the artistic practice of conducting, composition, and collaboration along-side the experience of following the direction of others in order to create an artwork that has a public impact. Students will have to the opportunity to use each other as actors, agents, units, and parts of their creative vision in varied environments and alternative spaces. Topics included the examination of historical works that have emerged from: the Fluxus art movement; happenings of the '60s; performative installation; live choral-based configurations; experiments with sound, light, motion, site, and performance; as well as, alternative genres such as live cinema. An ensemble can be a Flash mob, a gathering of organized movements and soundings on a park walk, mobile sculptural elements, or a series of instructions that a group or public is asked to follow. We will work in large ensembles and also experiment with smaller forms within the group.

Undergraduate Elective Fall and Spring

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MPSM358 Immersive Media - AR/VR 3cr

Immersive media and the Landscapes of Augmented & Virtual Reality In this course, students have the opportunity to survey the current state of augmented and virtual reality tools and applications. The ever-changing landscape of augmented and virtual reality offers artists uncharted territory in artistic expression and the opportunity to create a new artistic language. This course provides a review of the theory, history, and development of both AR and VR while exploring the artist's potential within these mediums. Students are expected to make work using video mapping, smart phone AR, and to participate in VR sessions. The course includes several visiting artists and professionals in the field.

Prerequisites: Basic knowledge in video production.

Studio

Spring

MPSM361 Investigations in Expanded Cinema 3cr

Expanded cinema can describe a film, video, multi-media performance or an immersive environment that extends the boundaries of filmic concepts. In this course we explore elements of light, motion, materiality, and sound to create works that extend beyond the traditional cinematic relationship between the audience and the screen by considering the variables of space, architecture, sculptural forms, and viewer relationship. The course investigates how pre cinematic forms can inform the post cinematic. Much of our investigations focus on approaches to physical installation that extend the notion of the frame into multidimensional environments using light, space, and architecture - concepts that can also be applied to creating simulation media with virtual and augmented reality technology. Readings, research, and discussion will be an

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integral aspect of this course. We also touch on themes such as Post Cinema, Media Archaeology, Time Space Compression, and Post Continuity. This course is designed to familiarize the student with a wide variation of art practices related to contemporary installation and immersive notions of art.

Hybrid Studio Critique

Fall

MPSM376 Studio for Interrelated Media 3 cr.

This is the second year of the Major Studio class (2 semesters of MPSM376 required) in SIM in which individuals and groups present and discuss work in media of their choice such as audio, video, computer, performance, publishing, and production of events that interrelate media. Each week, student presentations of work are organized into performances and exhibitions produced by students who select, schedule and technically support the presentation. In this junior year of SIM, students are required to complete all components of a junior review board during their first semester of MPSM376. While students register for different sections of the course each year, each section shares the same space, time and faculty so that all SIM majors are able to meet each other, collaborate, mentor and critique each other's work. SIM Majors are required to take 6 semesters of SIM Major studio in total. 2 MPSM276 (Sophomore year), 2 MPSM376 (Junior year) and 2 MPSM476 (Senior year).

Prerequisites: 6 credits of MPSM 276

Hybrid Studio/Critique

Departmental Requirement Fall and Spring

MPSM392 SIM Course Assistantship

MPSM398 SIM Internship

MPSM399 SIM Independent Study

MPSM402 Art, Life and Money 3 cr.

This course is targeted towards soon-to-graduate art students who are thinking about the practicalities of continuing life as in independent artist after art school. Throughout the semester students will meet graduates of the Studio for Interrelated Media as well as others pursuing unconventional artistic paths. Through discussion, presentations and field trips, issues surrounding the realistic struggles of maintaining life as an independent artist alongside the celebration of such a choice will be explored. The course will attempt to demystify tax responsibilities, non-profit organization opportunities, and grant-

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writing. Students will interview artists as well as research methods for balancing art, life and money after school. Students will also practice writing their artist statement and resume and create a personal five year plan using any media.

Hybrid Studio/Critique

All College Elective

MPSM404 City, Site and Public Practice 3cr.

This course explores examples of contemporary "social practice", its historical precedents, and current scholarly dialog on the topic. Social practice refers to the field of contemporary art practice that moves between art and life. Often, it is created in communities and spaces unaffiliated with traditional cultural institution and is frequently driven by an effort towards social change. The projects are usually collaborations with practitioners from many disciplines, are site-specific, and success depends on long-range planning and team management. In this class, student will have the opportunity to design and model their own socially-engaged, site-specific projects informed by the content of the course. The class will include visiting artists, site visits, and assignments designed to give students access to venues outside of their comfort zone. [Previously Titled Site and Social Engagement]

Undergraduate Elective Fall Only

MPSM404 Site and Social Engagement 3

This course explores examples of contemporary "social practice", its historical precedents, and current scholarly dialog on the topic. Social practice refers to the field of contemporary art practice that moves between art and life. Often, it is created in communities and spaces unaffiliated with traditional cultural institution and is frequently driven by an effort towards social change. The projects are usually collaborations with practitioners from many disciplines, are site-specific, and success depends on long- range planning and team management. In this class, student will have the opportunity to design and model their own socially- engaged, site-specific projects informed by the content of the course. The class will include visiting artists, site visits, and assignments designed to give students access to venues outside of their comfort zone.

Studio Hybrid

Undergraduate Elective Fall

MPSM405 Publications: Print, Digital,PostDigital 3cr.

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The rise of digital publishing, online media platforms, and mobile devices has radically altered the way we look at information, art and culture, while inspiring new uses and interpretations of print media. Artists and cultural producers everywhere are actively experimenting with alternative print and publishing practices that evoke analogue memories, critically document the present, or reformulate the future of the medium. These contemporary practices examine media sustainability, propose mediated participation and configure new social spaces for the dissemination and interchange of ideas. In this context we will initiate our studies. This class proposes a collaborative studio environment in which we will investigate various printmaking techniques, examine the history of the medium, observe and critique its current state, and experiment with the different forms that compose the expanded field of contemporary print. Through studio and post-studio projects students are asked to propose and discover alternative approaches to printmaking, cultural production and social engagement, while discussing issues of authorship, piracy, reproduction, dissemination, interchange, and participation. [Formerly Titled: Expanded Print Media]

Undergraduate Elective Spring Only

MPSM406 Contemporary Art Issues 3cr

Students explore issues of theory, interpretation and criticism of contemporary art, focusing on developments since 1980. Contemporary and historical readings along with in-class discussion and group presentations provide a basis for critically understanding one's own artistic practice in relation to other artists, as well as the culture at large. Students are exposed to writings, interviews, and artworks representing marginalized populations and ideas often overlooked in mainstream historical sources. Throughout the semester, students practice research and critical writing skills by observing and writing about the work on display throughout the campus as well as in galleries and museums in Boston. Additionally, students will have the opportunity to experiment with methods for presenting and disseminating their writing.

Hybrid Studio Critique

Undergraduate Elective Fall

MPSM407 Advance Video Techniques 3cr

In this course students explore the latest developments and possibilities in video image and sound capture, editing, and screening. The course explains the finer points of several types of cameras and accessories accessible for student

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use in the Studio for Interrelated Media department equipment collection. Guests bring workshops and demos of the cutting edge applications in VR, immersive media and augmented reality. Practical applications of video documentation are taught via hands-on collaborative projects documenting art projects on campus. This is an advanced course for students that already have some video skills in place.

Prerequisites: This is an advanced course for students that already have some video skills in place.

Hybrid Studio Critique

Instructor's Discretion

MPSM408 Intensive Performance Art Studio 3cr

In this class, students develop and deepen ways performance art fits into their practice. Through class exercises, assignments, and personal research, students investigate audience - performer relationships, site-specificity, working with extended duration, body awareness, risk management, personae work, delegated performance approaches, and documentation strategies. Approaching performance art through a visual arts lens, we investigate the history and contemporary climate around the medium's inclusion and/or exclusion from institutional art contexts, public space, and artist-run initiatives. Students complete readings, writing assignments, follow a course blog, and attend local art exhibitions/events during the semester that will be discussed in class. This course includes guest-artist presentations, guest critics, and

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significant student-led studio time. Students are required to present works in progress and developed pieces throughout the semester. Our efforts culminate into a final event where students share developed live works with the public. In addition to exhibiting their own works, students collaborate in the organization, promotion, and documentation of this event.

Prerequisites: MPSM216 Performance Art Fundamentals or MPSM307 On the Spot or Instructor Permission

Hybrid Studio Critique

Spring

MPSM409 Mining Meaning 3cr

This class focuses on the development of artistic practice and individualized research through multiple lenses. During the course, students are expected to create project based works through multi-faceted approaches to research. The course examines Practice-based Research which is a form of research that aims to advance knowledge partly by means of practice. Students will be introduced to the writings of Donna Haraway, Vilem Flusser, Oscar Wilde, James Baldwin, Juhani Pallasmaa, Kumagusu Minakakta, Theaster Gates, William Kentridge, Susan Sontag, and many others. Discussion, in-depth reading and written analysis regarding contemporary issues in art are a fundamental component of the course.

Hybrid Studio Critique

Spring

MPSM476 Studio for Interrelated Media 3 cr.

This is the third and final year of the Major Studio class (2 semesters of MPSM476 required) in SIM in which individuals and groups present and discuss work in media of their choice such as audio, video, computer, performance, publishing, and production of events that interrelate media. Each week, student presentations of work are organized into performances and exhibitions produced by students who select, schedule and technically support the presentation. In this final year of SIM, seniors are

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required to complete all components of a senior review board. While students register for different sections of the course each year, each section shares the same space, time and faculty so that all SIM majors are able to meet each other, collaborate, mentor and critique each other's work. SIM Majors are required to take 6 semesters of SIM Major studio in total. 2 MPSM276 (Sophomore year), 2 MPSM376 (Junior year) and 2 MPSM476 (Senior year).

Prerequisites: 6 credits of MPSM376

Hybrid Studio/Critique

Departmental Requirement Fall and Spring

Studio Foundation

SFDN109 Figurative Paint,Color and Light 3cr.

Through painting the figure, this class examines current practices and uses of color as they pertain to both visual artists and designers. A variety of color issues are explored including vocabulary, theories, cultural context, expressiveness, and pictorial qualities. [Formerly Figurative Painting&Color]

Undergraduate Elective Spring

SFDN181 Studio for Drawing 3 cr.

STUDIO FOR DRAWING introduces drawing as a practice of observation. We approach the illusions of space and form through formal analysis, subjective interpretation and through the human figure. We consider and examine the multiple functions of drawing across time and culture. We emphasize the breadth of the drawing experience and its application across disciplines. [Formerly Drawing Studio I]

Hybrid Studio/Critique

Departmental Requirement Fall

SFDN182 Visual Language 3 cr.

From the complexities of art and design, Visual Language will isolate a series of topics for examination, discussion, and development. These topics are fundamental to all of the disciplines within the fields of art and design. The topics explored are: learning about terms and concepts common to all of the visual arts (for example, composition, space content, color); exploring

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material, media and presentation skills (traditional and digital technologies included); initiating an historical and contemporary context for art and culture (issues surrounding the history and the institutionalization of art, and issues in contemporary art making and critical thinking); and, furthering a student's own sense of direction in the arts. Through prescribed projects emphasizing two-dimensional formats, students will progressively define and articulate their subjective interests, expressive ideas, and visual affinities.(Formerly Visual Language I)

Hybrid Studio/Critique

Departmental Requirement Fall

SFDN183 Form Study 3 cr.

Form Study is an introduction to the central tenets of three-dimensional art and design. Understanding 3D form and space is vital to all majors, in particular 3D fine arts and crafts, industrial design, fashion, and architecture. It is also a necessary component for the successful composition and production of two-dimensional images. Employing a wide range of materials and processes, students design and construct projects that investigate the three-dimensional elements of line, plane, surface, volume, mass, and space.

Hybrid Studio/Critique

Departmental Requirement Fall/Spring

SFDN185 Drawing Projects 3 cr.

DRAWING PROJECTS is a menu of advanced drawing courses building on the elements introduced in Studio for Drawing. There are 2 groups of courses in the menu: A.) Studio 2 (4 sections) B.) Thematic Menu (18 - 22 sections)

Studio 2 builds on the variety of principles and techniques introduced first semester yet explores drawing principles more intensely, in greater depth, building in time needed for practice.

It is an essential choice for anyone who may not have entered with the strongest drawing experiences prior to art school, or are challenged by drawing and need more time and practice to develop their ability, especially in preparation for major concentrations which demand strong drawing skills.

It is likewise directed towards students who have already acquired certain drawing skills but want to develop these further and more intensely. They typically expect to enter major concentrations that rely more heavily on drawing, such as illustration, fashion, industrial design, animation, graphic design, printmaking and painting.

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Acknowledging different abilities within this class, a variety of challenge levels are designed for projects throughout the semester.

Thematic Menu courses advance the formal and expressive issues introduced first semester but with a specific focus area. Intensely exploring a single theme, participants take the time needed to develop a drawing practice, conceptually and technically. A menu of courses is organized each semester to evenly represent each of 3 areas - observation, expression, technical drawing. Students select from the menu based on their needs, interests, and with their intended major in mind, typically in conjunction with their advisor or Studio for Drawing faculty member. [Formerly Drawing Studio II]

Prerequisites: SFDN-181

Hybrid Studio/Critique

Departmental Requirement Spring

SFDN188 Handmade Paper & Book 3 cr.

Pulp made into beautiful sheets of paper will be used for artists books and journals filled with imagery. Students will explore Western papermaking techniques with Thai Kozo and Abaca fibers. Japanese book binding, the accordion, simple side-bound books and journals for personal mark making will be emphasized. Students will be drawing and painting with water-based pigments, hand and machine sewing, graphite, inks etc. In this class drawing skills, perception, and expression will be motivated by the extraordinary qualities of paper and the book as art for visual narrative. [Formerly titled: Pulp: Paper and Book]

Hybrid Studio/Critique

All College Elective

SFDN191 Time 3 cr.

Time-based work is an important element of contemporary fine art and design and is fundamental to all art and design studio majors. Working in a wide range of media, students are introduced to basic concepts of art and design in time. Students will develop an understanding of temporal concerns across a wide range of time-based work including narrative, performative, spatial, tactile, and digital approaches. Assignments direct students in creating works that utilize attributes of time and movement; elements of serial, sequential, and narrative ordering; still and moving image production and editing; sound and image relations; and narrative and non-narrative approaches. Students will complete a final independent project in a time-based media of their choice. They will be introduced to the fundamental strategies used in art and design fields to conceptualize, produce, and present an independently conceived project.

Prerequisites: Visual Language I

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Hybrid Studio/Critique

Departmental Requirement Spring

SFDN205 A Studio in Mexico - Puebla and Cholula

Join us for a magical visit to Mexico City, Puebla and Cholula. From the Diego Rivera murals and Frida's home to the great pyramids at Teotihuacan and one of the most splendid anthropological museums in the world, Mexico City is unparalleled as a magnet for artists across media. Puebla and Cholula have inspired artists from pre-Colonial times. We travel to south central Mexico and visit remarkable sites, including colonial palaces and homes, cathedrals and basilicas, museums and art galleries, local artists and ateliers and amazing markets. Talavera covered architecture native to Puebla and covered with polychrome patterns, introduces the second part of our journey. Puebla and the historic Hotel Colonial will be our hub after 4 days in Mexico City. Pre-Hispanic tombs and pyramids with intricate stone carved drawings, dozens of religious cathedrals and basilicas built by the Spaniards with unique paintings and patterned adornments, artisan markets with indigenous groups identified by traditionally patterned garments all provide a lush environment for art students and an opportunity for immersion in a culture very different from our own and our very close neighbor. Built as a drawing and mixed media course this program would have great appeal to students interested in design as well as fine arts and across disciplines in these areas. This would include at least students interested in photography, architecture, pattern, surface design, ceramics, drawing and illustration, painting, sketchbooks, art history, cultural studies. Course considers the breadth of drawing rather than a purely academic drawing focus. We will work with drawing as a thinking device, a means of observing and visual note-taking, of exploring multiple media.

SFDN206 Boston to Beijing: China Through the Five Senses 3cr.

This course's intention is to immerse students in the vibrancy and history of China through the immediacy of the five senses. The daily exposure to the sights, sounds, smells, tastes and feel of contemporary and historic Chinese culture, arts and architecture will broaden students' understanding of this amazing country, while enhancing their own creative endeavors. The primary focus is the examination of both two-dimensional and three-dimensional art, within the context of China's rapid rise on the world stage. During our travels we will visit Buddhist Temples, the splendors of Imperial Courts and the lush gardens of the aristocrats. Some of the sites include The Forbidden City and Temple of Heaven, Ming Gardens, and The Great Wall of China. Our sojourn through China will find us trekking through numerous cities such as Beijing and Shanghai, in addition to many other historically and culturally prominent locations. Each of these areas is steeped in history, and their spiritual and artistic lives exemplify these regional and external influences. Many of these sites date back to the Song Dynasty, and are of great significance to Chinese culture as sources of inspiration for artists and scholars of all backgrounds. Beyond enriching students' cultural experience, this introduction into China's incredible art, artifacts and architecture, will enhance students' understanding of the broader

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contemporary world.[Fomerly titled Travel Course to China]

TRAVEL COURSE

Fall Only

SFDN207 Resonating Bodies 3cr

An experimental, cross-discipline course focused on using sound from non-Western instruments as a starting point for developing an individual portfolio of visual artwork. Although not a science class, we will investigate the latest research regarding harmonic therapies, vibrational effects of metal gongs/singing bowls on the brain, drumming, and the potential healing aspects of sound relative to personal well-being. There will be weekly listening sessions to soundscapes with dramatically large resonant gongs, sing bowls, and other non-western instruments. We will listen to the "Music of the Plants" device developed in Damanhur, Italy, to access sound melodies generated from living plants. In-class exercises, research, written and visual documenting of direct observational experiences with sound - physical, mental, and emotional - will develop our resource material. The format of artwork produced by students will vary depending on their interests, knowledge and experience. This is a studio class open to all media.

Students will collaborate and create sound tools. Artists such as Harry Bertoia, Hans Jenny's work with Cymatics, Alexander Lauterwasser, Pauline Oliveros' "deep listening", and others will be introduced.

Hybrid Studio Critique

Undergraduate Elective Fall and Spring

SFDN208 Sustainable Projects for Artists And Designers 3cr

Sustainable art and design focuses on how to leave our future more just, healthy, and environmentally stable than it is today. Through careful consideration of materials, life cycles, subjects, audiences, economies, and many other aspects of daily life, we imagine and make projects that address significant issues resulting from environmental impacts on human and animal societies.

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Open to students from all departments, this course focuses on developing projects in an interdisciplinary studio setting that address issues of sustainability on our campus, in our city, and in the larger global context. Research practices, collaboration, and charrette forms are explored through a series of assignments including a community service project. Through readings, field trips, visiting lecturers, and critique, we learn about revolutionary projects in sustainability in design and art fields today.

This class allows students to work in the medium of their choice while focusing on research and development in the area of sustainability.

Seminar

Instructor's Discretion

Travel

TRVL201 Ghana: Color, Pattern, and Culture At The Center of the World 3cr

Ghana, as some say, is the center of the world, since it is the closest landmass to 0 latitude, 0 longitude. It is also the first black African country to achieve independence and is a wonderful place to connect to local culture, beauty of textiles, fashion, art, and history. The core goal behind this travel course to Ghana is brining old world techniques into modern use, appreciating new environments, and broadening personal education. Students are given the opportunity to live, work and create in Nungua, a coastal town just outside of Accra. Through workshops, lectures, studio and factory visits, students will learn and gain hands on experience in the techniques used by local Ghanaian artists, educators, artisans and business owners. Excursions to Accra, Odumase Krobo and Cape Coast will also be included in this eye-opening travel experience.

Prerequisites: By permission

Travel

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TRVL202 Crossing the Pond: Exploring Communication Design in Londan and Leeds 3cr

The UK is recognized internationally for cutting edge and innovative communication design-Design, Illustration, Advertising, Motion Graphics and Animation. London is home to writers, politicians, artists, musicians, animators and designers. In its metropolitan area are well over seven million people representing communities from every corner of the earth. It is truly an international city. In London our student group will visit the studios of leading designers, illustrators and animators, as well as the important art museums. Leeds is a very lively and historic city located in West Yorkshire, England. It is a stylish city crammed with top-quality museums and art galleries and spectacular Victorian and Edwardian architecture. Leeds is also a popular location for businesses in the creative industries, especially graphic design, advertising, film and new media.

Prerequisites: By Permission

Travel Course

TRVL203 Laos: A journey into Culture and Craft Through a Social Enterprise 3cr

Experience the mystical country of Laos through an integrative collaboration with the social enterprise, Ma T Sai, as we travel to some of the northern villages and work with artisans on a collaborative project. The course will explore the culture of Laos, through the people, the food and the varied landscape from the Mekong River to the Buddhist temples. Students will participate in a variety of workshops on traditional handwork and explore the unique atmosphere of the UNESCO World Heritage City, Luang Prabang.

Prerequisites: By permission.

Travel course/

TRVL204 Italy: Ferraris to Footwear 3cr

See Italy from a design perspective - footwear, automotive and fashion. Italy 2020 promises to enhance each student's creative process using the artistic culture of Northern Italy as our "Muse". Through lectures and coursework, insights to Italy's cultivated design lens of footwear design foundation and historical automobile carrozzieri (coachbuilders), the semester will then culminate into a three-week travel program to Italy: Turin, Bologna, Florence, and San Miniato. Students will learn design and manufacturing processes of luxury automotive, fashion and footwear professionals to inspire, incorporate and discover methods for designing; translatable into any discipline.

Prerequisites: By permission.

Travel course

TRVL302 Antwerp/Paris:fash. Spectrum 3cr

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This course will examine both the historical heritage of couture design as found through the textiles, techniques and craftsmanship of the designers as well as a contemporary view of the globalization of fashion and where designers are heading in the future. We will examine how the old world techniques continue to shape and work within the technological advancements of the present day. Students will examine how Antwerp has surfaced as a leading innovative force in fashion and what this means in the larger global context. All of this will be accomplished through lectures and coursework throughout the semester and will culminate with a 2 week travel program to Antwerp and Paris. Students will complete a final project based on their research, exploration and travel experiences.

Prerequisites: By permission.

Travel

TRVL400 Cuba 2019 Artist-In-Residency: Cultural Geographies, Personal Narratives, Art and the Natural Environment 3cr

The course provides an overview of Cuban arts and culture from the pre-colonial period to the present. Course materials examine regional Caribbean political geographies and environmental concerns. Students research interdisciplinary forms of religious expressions and artistic /spiritual traditions alive in Cuba today. Students explore Cuban architectural traditions and sense of memory; historic monuments, public , private spaces and UNESCO sites. Studio project proposals are motivated by individual artistic interests and scholarship. Students are encouraged to produce self-reflective work while engaged in international cross cultural research. Students define/redefine conceptual terms related to self, culture and the natural environment

Prerequisites: By permission.

Travel Course

Post-Baccalaureate

MPPH509 Major Studio-Photo Post-Bac 6cr

MPPH510 Major Studio II-Photo Post-Bac 6cr

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photography classes, technical courses, and art history electives.

Prerequisites: MMPH509

Other Courses

TRVL200 Boston to Beijing: China Through the Five Senses 3cr

This course's intention is to immerse students in the living history of China through close contacts with its ancient and contemporary culture. Daily exposure to art, architecture and religious artifacts will broaden students' understanding of Chinese culture while enhancing their own creative endeavors. The primary focus is the examination of both two-dimensional and three-dimensional art, within the context of China's rapid rise on the world stage and ancient history. We will examine the influence of rituals within the arts and crafts - specifically those of woodblock printing, calligraphy, textiles and pottery. During our travels we will visit Buddhist Temples, splendors of Imperial Courts and the idiosyncratic gardens of the aristocrats. Our sojourn through China will find us trekking through both Beijing and Dunhuang. Each of these areas is steeped in history, and their spiritual and artistic lives exemplify regional and external influences.

Prerequisites: By permission.

Travel Course

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Office of the Registrar

The Registrar's Office is located on the 8th floor of the Tower Building Monday through Friday, 9 am to 5 pm

[email protected], (617) 879-7272, FAX (617) 879-7270

The Office of the Registrar provides a variety of services to faculty, students, staff, and the College at large. Services include: managing the course enrollment process (Registration, Add/Drop, Cross-Registration); managing transfer credit intake for current students; assisting faculty with grades and rosters; and processing requests for transcripts, certificates of enrollment, degree verifications, and diplomas. The Office is also responsible for the production of the Academic Calendar and the Academic Catalog.

The Office of the Registrar monitors each student's general progress towards earning a degree by tracking student registration status and managing systems such as Academic Standing and the Intent to Graduate process. The Office is also responsible for the storage, safety, access, and privacy of all student and Alumni records.

The Office of the Registrar provides support for day-to-day internal reporting, and prepares and submits regular reports to the City of Boston and the Department of Education.

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Professional and Continuing Education Courses Professional and Continuing Education (PCE) at MassArt offers courses and workshops primarily during evenings and on weekends during the fall, spring, and summer semesters and during the winter intersession. Located on first floor of the Artist's Residence, PCE offers an array of undergraduate and graduate level courses that can be considered for transfer to other colleges, including MassArt's undergraduate programs. Who Can Register for PCE courses? Matriculated undergraduate students may register for PCE classes during the Add/Drop period often at no additional charge for tuition. However every PCE class contains a class specific fee that will be added to your total charges. Matriculated undergraduate students who register for courses in both the undergraduate program and PCE are responsible for the fees associated with each. PCE credits will be added to your state supported credits and one charge will be calculated from the combined total credits based on the undergraduate tuition and fee rates.

Students must obtain approval from their advisor for their PCE course selection before registering for classes if they wish to transfer the credits to their degree program. Add/Drop policies, as well as class schedules are different from undergraduate college policies and calendars.

Matriculated BFA students with outstanding tuition and other charges are not eligible to register for PCE classes or workshops.

BFA students who wish to register for nine or more credits through PCE must obtain the registrar's signature on their PCE registration form. Course Cancellation/Meetings Continuing Education classes may be canceled if under-enrolled. PCE classes have independent schedules and meet on faculty/staff days, registration days, and during day school vacations, review boards, or examination periods. They do not meet on state holidays or when the college is closed. Adding or Dropping PCE Classes To drop a PCE class, BFA students must complete an Add/Drop Form and obtain the signature of their faculty advisor. Students are encouraged to inform the instructor of the course. Failure to drop a course officially results in a NC (No Credit) grade. Consult the Continuing Education catalog regarding Add/Drop dates and refund policies.

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Tuition and Fees

The Business Office The Business Office is responsible for accounting, accounts payable, budgeting, and student accounts. The Business Office is located on the 8th floor of the Tower building. Regular office hours are 9:00 a.m. to 5:00 p.m. Monday through Friday. Contact: 617 879 7900, [email protected] or fax 617 879 7895.

Tuition and Fees

Undergraduate

The following is a breakdown of the student charge based on Regular Enrollment* and Residency Classification.

New England Massachusetts Out of State Resident Resident Resident (CT, ME, NH, RI, VT)

Tuition $1,030 $18,630 $26,630

Fees $13,170 $13,170 $13,170

Totals $14,200 $31,800 $39,800

*Regular Enrollment is defined as 7 or more credits. If you register for 6 or less credits, you will be billed the Less-Than Regular Charge, which is approximately 60% of the Regular Charge.

The cost of the BFA/MA and BFA/MAT Art Education Programs include the tuition and fees listed above, and one year of tuition and fees at the graduate level.

Please be aware that certain types of financial aid are pro-rated for enrollment less than 12 credits. Always check with the Office of Student Financial Assistance if you intend to enroll for less than 12 credits.

The academic definition of "full-time enrollment" varies from the billing and financial aid policies as stated above. Full-time students take at least 12 credits per semester; part-time students take fewer than 12 credits per semester. Please see the information on Course Load/Credits in the Academic Policies section of the website for more information.

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2020-2021 UNDERGRADUATE COST OF ATTENDANCE

The cost of attendance is an estimation of the amount of money it could potentially cost you to go to MassArt for one academic year. It not only includes your tuition and fees, but also includes an estimate for living expenses, personal expenses, art supplies, and books.

If you apply for Financial Aid, your cost of attendance will be determined for you and may vary based on your residency status and your living arrangements (on-campus, off-campus, or living at home/with relatives). Your cost of attendance is the maximum amount of financial aid you may receive for one academic year.

New England Cost of attendance for students living Massachusetts Resident Out of State on-campus* Resident (CT, ME, NH, RI, Resident VT)

Tuition and fees $14,200 $31,800 $39,800

Average cost of room and board** $14,800 $14,800 $14,800

Personal living allowance $900 $900 $900 (non-billed expense)

Art supplies and books $2,000 $2,000 $2,000 (non-billed expense)

Estimated for Computer for Remote/Hybrid Learning $1,500 $1,500 $1,500 (non-billed expense)

Totals $33,400 $51,000 $59,000

*For students living off campus, the average cost of room and board and personal living allowance is replaced with a living allowance of $15,700.

*For students living at home/with relatives, the average cost of room and board and personal living allowance is replaced with a living allowance of $4,200.

**Please note: the "average cost of room and board" is the median cost of living in a MassArt residence hall with a meal plan; the actual cost of room and board may vary by room assignment. For detailed information about housing, please visit the Office of Housing and Residence Life.

HEALTH INSURANCE

Every student enrolled in nine credits or more MUST either enroll in MassArt's health insurance plan or submit an insurance waiver. Students are charged in the fall for the full academic year. The MassArt insurance cost for 2020-2021 is $3,306 (billed in the fall).

Graduate

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Per Credit Tuition and Average Anticipated Total Average Cost Total Program Fees Credits 1st Program Tuition & 1st Year* Credits (50% tuition / Year Fees* 50% fees)

Fine Arts Programs

MFA: 2D/3D, Film/Video, $800 30 $24,000 60 $48,000 Photography

MFA: Design - Dynamic Media $800 30 $24,000 60 $48,000 Institute (2-year)

MFA: Design - Dynamic Media $800 18 $14,400 60 $48,000 Institute (3-year)

MFA: Fine Arts Low-Residency in $800 25 $20,000 60 $48,000 Boston

Postbaccalaureate Programs: Photography, Design - Dynamic $800 24 $19,200 24 $19,200 Media Institute

Design Programs

Master of Architecture Track 1 $800 42 $33,600 102 $81,600

Master of Architecture Track 2 $800 45 $36,000 60 $48,000

Master of Design Innovation $800 31 $24,800 60 $48,000

Art Education Programs

BFA/MA $800 30 $24,000 30 $24,000

BFA/MAT $800 30 $24,000 30 $24,000

Master of Education $800 21 $16,800 30 $24,000

Master of Arts in Teaching/Art $800 18 $14,400 36 $28,800 Education

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Teacher Preparation Program $572 12 $6,864 24 $13,728

GRADUATION TUITION AND FEES FY 2020 Graduate course charges accrue on a per-credit basis. The tuition and fees per credit vary with program academic level with a difference between master's degrees and the TPP Program, but do not vary based on the student's residency status. The anticipated total program tuition and fees is an estimate based FY 2020 per-credit tuition and fees rates applied to total program credits.

MassArt's fiscal year runs from the start of the summer term through the end of the spring term.

*Additional fees charged for specific programs, courses and for late Thesis completion are not included in the listed per-credit fee and anticipated total program tuition and fees.

Tuition Waivers Please note that Continuing Education, Certificate, and Graduate courses and programs are not state supported. If you believe you are eligible for a tuition waiver, please submit documentation of the applicable tuition waiver such as a completed and signed tuition waiver form to the PCE or Graduate Program office for review. PROGRAM CREDITS  MFA (fine arts majors): 30 credits per year

 Graduate Postbaccalaureate Program Design, Photography: 24-29 credits in 1 year

 MFA: Fine Arts Low-Residency: 25 credits year 1, 26 credits year 2, 9 credits year 3

 M.Arch Track 1: 42 credits year 1, 45 credits year 2, 15 credits year 3

 M.Arch Track 2: 45 credits year 1, 15 credits year 2

 MDes: 30 credits per year

 MFA: Design (Dynamic Media Institute): 2-year track, 30 credits per year; 3-year track, 18 credits per year, with an additional 6 elective credits over the course of the program

 BFA/MA and BFA/MAT: 30 credits in 1 year

 MAT: 18 credits per year

 MEd: 21 credits year 1, 9 credits year 2

 TPP: 12 credits per year

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ADDITIONAL FEES  Photography Student Ink Fee - $600 charged in the fall and spring terms to students who are enrolled in the MFA Photography and Post-Baccalaureate Photography programs ($1200 in an academic year)  Art Education Student Teaching Supervision Fee - $750 charged to students each term they are enrolled in a Student Teaching Practicum course. This applies to the art education programs that require this course: BFA/MA, BFA/MAT, MAT, and TPP  M.Arch Thesis Continuation Fee - $500 charged to M.Arch students working to complete the Thesis in a term after enrollment in the final thesis course

Certificate

The cost of tuition for all certificate programs is $450 per credit in academic year 2020-2021. Fees are additional and range from $220 to $330 per class. COST BY PROGRAM

FASHION DESIGN

Fashion Design Certificate tuition including course, credit and fees:

 The Fashion Design Certificate consists of 10 courses, totaling 29 credits  The credit cost for fiscal year 2021 (starting Summer 2020) is $450 per credit  The fees per class vary between $220 and $330  The total cost for the program including fees, but not including materials, is approximately $16,000 as of Fall 2020*  Students typically take 6 credits per semester *Tuition cost is subject to increase based on yearly credit and fee rates.

Average class cost (3 credits plus fee) $1,570

Fees (depends on class) $220 or $330

Total cost for program (not including materials) $16,000

FURNITURE DESIGN

Furniture Design Certificate tuition including course, credit and fees:

 The Furniture Design Certificate consists of 10 courses, totaling 29 credits  The credit cost for fiscal year 2021 (Starting Summer 2020) is $450 per credit  The fees per class vary between $220 and $330

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 The total cost for the program including fees, but not including materials, is approximately $16,000 as of Fall 2020*  Students typically take 6 credits per semester *Tuition cost is subject to increase based on yearly credit and fee rates

Average class cost (3 credits plus fee) $1,570

Fees (depends on class) $220 or $330

Total cost for program (not including materials) $16,000

GRAPHIC DESIGN

Graphic Design Certificate tuition including course, credit and fees:

 The Graphic Design Certificate consists of 13 courses, totaling 38 credits  The credit cost for fiscal year 2021 (Starting Summer 2020) is $450 per credit  The fees per class vary between $220 and $330  The total cost for the program including fees, but not including materials, is approximately $21,000 as of Fall 2020  Students typically take 6 credits per semester *Tuition cost is subject to increase based on yearly credit and fee rates

Average class cost (3 credits plus fee) $1,570

Fees (depends on class) $220 or $330

Total cost for program (not including materials) $21,000

INDUSTRIAL DESIGN

Industrial Design Certificate tuition including course, credit and fees:

 The Industrial Design Certificate consists of 17 courses, totaling 51 credits  The credit cost for fiscal year 2021 (Starting Summer 2020) is $450 per credit  The fees per class vary between $220 or $330  The total cost for the program including fees, but not including materials, is approximately $27,000 as of Fall 2020*  Students typically take 9 or more credits per semester *Tuition cost is subject to increase based on yearly credit and fee rates

Average class cost (3 credits plus fee) $1,570

Fees (depends on class) $220 or $330

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Total cost for program (not including materials) $27,000

Refund Policy  Student officially withdraws prior to the first day of the semester; 100% reduction of Student Charge (Tuition & Fee) Less a forfeiture of the student deposit

 If a Student officially withdraws during the first two weeks of the semester; 50% reduction of Student Charge (Tuition & Fee)

 If a Student officially withdraws from the beginning of the third week on; 0% reduction of Student Charge (Tuition & Fee) Please Note: Failure to attend class does not constitute official withdrawal from the semester. The Student is required to submit the appropriate forms. FINANCIAL AID WITHDRAWAL & REDUCTION POLICY Massachusetts College of Art & Design adheres to the Federal policy whereby Student Financial Aid is earned during the semester by the Students' attendance of academic classes.

Should a Student withdraw from the academic semester or cease attending classes, his or her Student Financial Aid is adjusted as follows:

Point of the Semester Percentage Earned Reduction of Financial Aid

10% point of the Semester 10% 90%

20% point of the Semester 20% 80%

30% point of the Semester 30% 70%

40% point of the Semester 40% 60%

50% point of the Semester 50% 50%

60% point of the Semester 100% 0%

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Student Financial Assistance Massachusetts College of Art and Design is committed to providing the resources needed to fund each student's education and ensuring that access to a chosen field is not limited by the cost of attendance. Currently more than 1,100 students at MassArt are receiving some sort of financial assistance totaling over fifteen million dollars.

It has been the experience of the Office of Student Financial Assistance that students and families who take the time to understand the financial aid process benefit by receiving the maximum amount of financial aid for which they are eligible, while enjoying a financially stress-free college year. The Office of Student Financial Assistance is located on the eighth floor of the Tower building and is open Monday through Friday, 9:00 a.m. to 5:00 p.m.

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Campus Resources

Counseling and Wellness The Counseling & Wellness Center offers programs promoting wellbeing throughout the academic year. Counseling is free short-term psychotherapy, evaluations, referrals, and other resources for students.

CONTACT [email protected] • T: 617.879.7760 • F: 617.879.7769 2nd Floor of Kennedy Building Monday - Friday, 9:00am - 5:00pm Emergency Drop-in Hours: Monday - Friday, 3:00pm - 4:00pm

COUNSELING PHILOSOPHY OF CARE The primary purpose of the MassArt Counseling Services is to enhance the ability of students to develop their creative, intellectual, and emotional potential in order to have a successful college experience. We consider it a sign of strength when a student decides to seek counseling. We believe that the process of counseling can result in an individual gaining insights, new skills, and personal growth to help them navigate the challenges of college life and beyond. Counseling is a collaborative relationship between a client and a mental health professional that is trained to help clients’ to understand and change thoughts, feelings, and behaviors.

Clients often experience a wide range of emotions during the counseling sessions. At times this can be overwhelming but, if the individual works closely with the counselor, it is generally found to be fulfilling and will provide relief by talking about difficult topics.

Students come to us during times of crisis and intense stress when their usual supports or coping skills are not working. Sometimes students come in who have less pressing concerns - such as a roommate conflict or difficulty with an academic subject. We welcome all students and try to provide an initial session as swiftly as possible.

AFTER HOURS SUPPORT Want to talk to someone on the phone after our office is closed? Trained volunteers are available 24 hours a day/7 days a week to provide support and assistance. Visit samaritanshope.org or call 877.870.HOPE (4673). Not comfortable talking on the phone? Crisistextline.org provides free, 24 hour emotional support by text. Text 741741 when you are in crisis and need to talk. A live, trained counselor will respond promptly and be available to provide support and assistance. If there is an emergency that requires immediate assistance, call MassArt Public Safety at 617.879.7800.

COMMUTER PROGRAMS Commuter Programs, located in the Office of Student Development, seeks to aid our commuter students in learning about the variety of resources on and off campus. The program provides resources and programming to help students become active participants in campus life and contributing members of their community.

PARTICIPATE Be an active and informed member of the MassArt community. Participate in college activities is a great way to meet people and get involved at MassArt. Keep informed of daily events and activities by accessing the events calendar. Check your MassArt email. account for valuable information including campus wide announcements. It is essential for commuter students to have an active College email account. Remember, College officials who may need to contact you will not have access to personal email addresses. Don’t take a chance on missing out; check your MassArt Gmail account every day!

CONNECT Get to know your professors, staff members in Student Development, your work study supervisor, etc. they are important campus connections. Make sure to tell a faculty or staff member about obstacles associated with your commuting lifestyle that could impact classroom performance.

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HEALTH SERVICES Optum Student Health Services at Massachusetts College of Art and Design is located on the second floor of the Tree House Residential Hall, 578 Huntington Avenue. Services provided: urgent care, wellness care, screening for STIs, immunizations, laboratory, contraception, pap smears/well woman exams, travel medicine/counseling, pregnancy testing, club sports/clearance physicals. Optum will bill students’ insurance plans for all services rendered. Students must present their MassArt student ID cards and their health insurance cards at every appointment, just as they do when accessing their doctor’s office at home.

HOURS Optum Student Health Services is open from Monday-Friday from 9:00am - 6:00pm with walk in availability up to an hour before closing. Appointments at Optum Student Health Services may be made in person or by calling 617.879.5220.

ART SUPPLY AND BOOKSTORE MassArt Supply and Bookstore is located on the first floor of the Kennedy Building. The shop offers a complete line of professional art supplies, new and used textbooks, course material, apparel, fan gear, gifts, and other college items. Books can also be ordered online.

STORE HOURS: Monday - Thursday: 8:30am - 6:30pm Friday: 8:30am - 5:30pm Saturday: 11:00am - 3:00pm Reduced hours between semesters and holidays. Call 617.739.4770 for more information. DISCOUNTS ON APPLE PRODUCTS AND SOFTWARE Colleges of the Fenway students, faculty, and staff can purchase Apple computers and software at Educational pricing.

LIBRARY: The library, which is located on the 12th and 13th floors of the Tower building at 621 Huntington Avenue, is closed for fall semester 2020. FIND US AT OUR REMOTE SERVICE DESK (starting September 16th)

Hours: Monday-Thursday 11 am to 3 pm, Friday 11 am to 1 pm Location: Tower Lower Lobby

FIND US ONLINE Hours: Monday-Friday 9 am to 5 pm Email: [email protected] Chat:

No in-person or online support:

Indigenous Peoples’ Day, October 12 Veterans Day, November 11 Thanksgiving, November 25-29 Winter Break, December 23 – January 1

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COMMUNITY STANDARDS

INTRODUCTION MassArt expects its students to be good citizens and to conduct themselves in an appropriate manner at all times, whether on-campus, off-campus, attending study abroad programs and/or campus-sponsored travel courses. All MassArt students are expected to act with integrity and demonstrate responsible behavior. In these Standards, MassArt sets appropriate and clear guidelines for the behavior of its students. The guidelines are established to ensure that student conduct does not adversely affect the educational mission of the University or its relationship with the surrounding community or members of the MassArt community and partner schools.

MassArt holds its students responsible for the manner in which they exercise the privileges and freedoms afforded them. They are encouraged to offer reasonable assistance to others whose behavior appears to be harmful to themselves or to the community. MassArt students are also held responsible for the actions of their guests.

Under the terms of their enrollment, individual students and student organizations are bound by these Community Standards and acknowledge the right of the University to take disciplinary action for behavior that violates the Standards. These Community Standards apply to all MassArt students, while on and off campus at a university related function, and/or studying or traveling abroad with the University. The development and enforcement of these Community Standards is an educational endeavor that fosters students' educational, personal, and social development and growth. MassArt encourages students to assume a significant role in the development and enforcement of these Community Standards to be better prepared for their roles and responsibilities as global citizens. The Senior Student Affairs Officer, or designee, has specific responsibility for the administration and enforcement of these Community Standards. The Senior Student Affairs Officer, or designee, will conduct training sessions for those responsible for adjudicating cases through the Community Standards and will manage and maintain all records pertaining to the administration and enforcement of these Community Standards.

Communication with students regarding the conduct process will be primarily conducted through university email. All MassArt students are expected to check their university email.

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DISCRIMINATION & SEXUAL HARASSMENT This Code shall not be used to address complaints of discrimination, harassment, and retaliation, including Title IX offenses such as sexual harassment rape, sexual assault, domestic and dating violence and stalking. Those complaints shall be investigated according to the College’s Equal Opportunity, Diversity and Affirmative Action Plan by the Office of Compliance.

MEDICAL AMNESTY

It is MassArt's policy that no student (either the affected student or friends of the affected student) seeking medical attention for alcohol poisoning and/or drug overdose will face disciplinary action for use of alcohol and/or illegal drugs.

MassArt believes that it is in the best interest of students' welfare that persons who are suffering from alcohol poisoning and/or drug overdose be brought to the immediate attention of medical personnel. Affected students must meet with an administrator/counseling services upon return or within 24 hours. At the discretion of the college given circumstances. Students receiving medical amnesty from disciplinary action will be required to complete a mandatory alcohol and/or drug evaluation and educational sessions in the MassArt Health and Counseling Office and, where indicated, may be required to seek further treatment. Failure to complete the prescribed course may result in disciplinary action.

Always call 911 or Public Safety at 617-879-7800 for help if someone:

 Passes out and cannot be awakened  Vomits while passed out. Stops breathing  Has a seizure

DEFINITIONS Accused Student means any person, or the University itself, who submits an allegation that a student or a Student Organization violated the Community Standards. When a student believes that they have been a victim of misconduct of another student or Student Organization, the student who believes they have been a victim will have the same rights under the Community Standards as are provided to the accused student even if another member of the University community submitted the allegation itself.

Administrative Conference Agreement means the final agreement regarding violations and/or sanctions agreed upon between the Community Standards officer and the student or Student Organization.

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Administrative Review Officer and Community Standards Officer (CSA) are University staff who are authorized by the Senior Student Affairs Officer, or designee, to determine the appropriate resolution of an alleged violation of the Community Standards, and/or to impose sanctions or affect other remedies as appropriate.

Advisor means any person who accompanies an accused student, or a victim for the limited purpose of providing support and guidance. If a party’s advisor is an attorney, the University’s legal counsel may also attend the meeting or proceeding.

Business Day means any day, Monday through Friday, that the University is open. providing support and guidance. If a party’s advisor is an attorney, the University’s legal counsel may also attend the meeting or proceeding.

Business Day means any day, Monday through Friday, that the University is open.

College Property – Includes all land, buildings, facilities, and other property in the possession of or owned, used, or controlled by the College, including adjacent streets and sidewalks.

Community Standards file means the printed/written/electronic file which may include but is not limited to incident report(s), correspondence, witness statements, and disciplinary history.

Complaint is an allegation of a violation of the community standards, which is filed with or by the CSA.

Designee refers to any staff or faculty member who is responsible for implementing the Community Standards process or administering the Community Standards system, in part or in whole, at the direction of the Vice President of Student Development, Associate Vice President of Student Development and Dean of Students, Senior Conduct Officer, or other University official.

Disciplinary History Any history directly related to a students behavior (whether on-campus or off- campus) addressed by the University where University charges and/or sanctions were determined as a result of a settlement or community standards process.

Disciplinary Hold means an administrative hold placed on a student's record or on a Student Organization's activities or privileges when the student or Student Organization Representative does not respond to the request of a University official to attend an Administrative Conference, has not completed an assigned sanction, or, with respect to a student, has withdrawn from the University while a conduct matter is pending.

Education Records are those records that are directly related to a student and maintained by the Massachusetts College of Art and Design or by a party acting for the College. These include, but are not limited to, papers, examinations, grade information, transcripts, disciplinary information, billing and financial aid information.

Guest means a non-student who is an associate or invitee of a student and/or Student Organization.

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Incident Database means the electronic database used as a repository for all incident information including, but not limited to, reports, witness statements, photos and videos.

Instructor means any faculty member, teaching assistant, graduate assistant or any other person authorized by the University to provide educational services

Interim Administrative Action means an immediate measure applied to a student or Student Organization prior to an Administrative Conference or University Hearing Board on the alleged violation.

Investigator is responsible for gathering, preserving and analyzing evidence/information to determine the outcome of the investigation and recommended corrective action and/or resolution.

Member of the University Community includes any person who is a student, instructor, or University employee; any person who works (directly or indirectly (e.g., a vendor), resides, or receives services on University premises or in connection with its programs or activities; and may include visitors to University premises. A person's status in a particular situation shall be determined by the Senior Student Affairs Officer or designee.

Peer Conduct Advisor is a student leadership position that works both with the Office of Student Development to assist students in matters of on and off campus violations of the Community Standards. The Peer Conduct Advisor has an excellent understanding of the conduct process and an understanding of the foundation and philosophy of the University's Community Standards. In the event a Peer Conduct Advisor is not available, a University staff member may serve in this role.

Policy is any regulation of the University, including, but not limited to, those published in the Community Standards, the Student Handbook, the Equal Opportunity, Diversity and Affirmative Action Plan, Residence Hall Handbook, license occupancy agreements and the Graduate/Undergraduate/PCE Catalogue.

Preponderance of Evidence - The evidentiary standard used in resolving a complaint filed under this Code’s Disciplinary Process. The standard is met if the proposition is more likely to be true than not true (i.e.; more probable than not). Effectively, the standard is satisfied if there is greater than 50 percent chance that the proposition is true.

Sanctions means a status or a requirement a student or Student Organization must abide by or complete when found responsible for violating University policy.

Student includes all persons enrolled in a program courses at the College, both full-time and part- time, credit and non-credit. Persons who are not officially enrolled for a particular term but who have a continuing academic relationship with the College are considered students.

Student Organization means an association or group of persons, including, but not limited to, any student organization, team or club, that has complied with the formal requirements for University recognition or are recognized by the University.

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Student Organization Representative means the president or designee chosen by the Student Organization officers to participate in the Community Standards process on behalf of the Student Organization.

Witness means any person with knowledge pertaining to an alleged violation of the Community Standards by a student or Student Organization.

DISCIPLINARY OFFENSES A student shall be subject to disciplinary action under this policy for engaging in acts including, but not limited to:

1. Acts of dishonesty include but are not limited to: cheating, plagiarism (artistic or academic); furnishing false information to faculty, staff, department, or any University official; forgery, alteration or misuse of any University document, record, or instrument of identification (including all software and computer databases, systems or email); tampering with the election of any Student Organization; or misrepresenting oneself as another.

2. Acting on or off-campus in a manner that substantially interferes with or disrupts the normal and/or safe operation of the College, including but not limited to disrupting or interfering in the educational process, including teaching, advising, research, administration, disciplinary proceedings, public service or other College activities or functions.

3. Harming behavior, which includes, but is not limited to: the true threat of or actual physical force or abuse.

4. Endangering behavior, which includes, but is not limited to, conduct that threatens or endangers the health or safety of any person or group (including one's self).

5. Hate crimes as defined under state or federal law.

6. Conduct that corresponds to any violation of federal, state, or local law while on or off University premises.

7. Failure to abide by the Alcohol Policy. Notwithstanding the Alcohol Policy, specific violations include:

1. Use, possession, manufacture or distribution of alcoholic beverages except as expressly permitted by Massachusetts state law and University regulations, while on or off campus is prohibited. 2. Public intoxication while on or off campus is prohibited.

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3. Common source containers of alcohol are prohibited. This includes, but is not limited to kegs, pony kegs, beer balls, and/or mixed alcoholic punch. Common source containers are prohibited whether the containers are empty or full. 4. Being knowingly present where a violation of the University's Alcohol Policy is occurring is prohibited. 5. Use of alcohol to render another person physically or emotionally incapacitated in prohibited. 6. Violation of the Alcohol Policy within the residence halls as outlined in the Residence Hall Handbook. 7. Failure to complete the mandatory alcohol assessment and/or additional treatment after receiving Medical Amnesty as described above.

8. Violation of the Other Drug and Controlled Substance Policy, specific violations include:

1. Use, possession, cultivation, manufacture, distribution or being under the influence of narcotics or other controlled substances (as defined by Federal and Massachusetts General Law) except as expressly permitted by law while on or off campus is prohibited. 2. Use, possession, or sale of drug paraphernalia is prohibited. 3. Being knowingly in the presence of illegal drugs is prohibited. 4. Use of illegal drugs to render another person physically or emotionally incapacitated in prohibited. 5. Violation of the Other Drug and Controlled Substances Policy within the residence halls as outlined in the Residence Hall Handbook. 6. Failure to complete the mandatory drug assessment and/or additional treatment after receiving Medical Amnesty as described above.

While Massachusetts state law permits the use of marijuana in certain limited situations, federal law prohibits marijuana use, possession, distribution, and/or cultivation at educational institutions. Therefore, the use, possession, distribution or cultivation of marijuana for medical purposes is not allowed in any MassArt residence hall or on any other MassArt premises; nor is it allowed at any University-‐sponsored event or activity off-‐ campus or at any Student Organization event or activity. Anyone who possesses or uses marijuana on any University premises may be subject to civil citation, state or federal prosecution, and University discipline.

In addition, no accommodations will be made for any student in possession of a medical marijuana registration card. Upon request, MassArt may release students from their occupancy license if approved as a reasonable accommodation for a documented disability requiring use or possession of marijuana for medical purposes.

9. Unauthorized possession, duplication, or misuse of University property or other personal or public property, including but not limited to records, electronic files, telecommunications systems, forms of identification, or keys.

10. Verbal or physical harassment or intimidation.

11. Attempted or actual theft, damage, and/or vandalism, by intent or negligence, to property of the University or property of a member of the University community, or other personal or public

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property; or possession of property stolen from the University, any of its members or visitors.

12. Uncooperative behavior which includes, but is not limited to, disregarding the request of, providing false information to, and/or failure to identify oneself to any University official, fire or law enforcement officers acting in performance of their duties. This includes failing to provide identification when asked by University officials.

13. Creating a fire hazard or a situation that endangers others, such as false reports of fire or bombs, possession of fireworks, failing to evacuate, throwing objects from windows, or tampering with, covering, damaging, or removing fire safety equipment, burning candles or incense, intentionally burning or singeing University property or posted signs, smoking any substance in-doors.

14. Use, possession, creation, or carrying of firearms (for the purpose of this section, firearms shall mean any pistol, revolver, rifle, or smoothbore arm from which a shot, bullet or pellet can be discharged by whatever means), incendiary devices, smoke devices, hunting or assault knives, explosives, or other dangerous weapons on University premises or at University-sponsored events.

15. Forcible entry or unauthorized entry and/or presence in University premises, including, but not limited to, galleries, classrooms, studios, offices, residence halls, residence hall apartments/suites/rooms, roofs, balconies, and/or courtyards.

16. Unauthorized possession, duplication, or use of keys to any College premises or unauthorized entry to or use of College premises.

17. Any unauthorized use of electronic or other devices to make an audio or video recording of any person(s) while on College premises or participating in a College-related activity without the person’s prior knowledge or without the person’s effective consent due to intoxication, drug use, mental impairment or other conditions that may impair a person’s ability to convey effective consent. This includes, but is not limited to, surreptitiously taking pictures of another person in a locker room or restroom.

18. Violation of Residence Hall Handbook or Residence Hall License Agreement.

19. Failure to abide by the Smoking Policy.

20. Extortion - The use, or the express or implicit threat of the use, of violence or other criminal means to cause harm to person, reputation, or property as a means to obtain property from someone else without his/her consent.

21. Abuse of the Student Conduct Procedures outlined in the Community Standards including, but not limited to:

1. Failure to obey the summons of a Community Standards officer, Hearing Board members, or an Administrative Review Committee. 2. Falsification, distortion, or misrepresentation of information to a Community Standards officer, Hearing Board members, or an Administrative Review Committee.

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3. Disruption or interference with the orderly conduct of a Student Conduct proceeding. 4. Influencing or attempting to influence another person to commit an abuse of the Student Conduct procedures. 5. Attempting to harass, intimidate or retaliate against a member of a review body, accused student or witness, prior to, during and/or after a Student Conduct proceeding. 6. Failure to comply with the sanction(s) imposed under the Community Standards.

22. Failure to abide by the Hazing Policy.

23. Unauthorized solicitation is prohibited.

24. Unauthorized or illegal gambling is prohibited.

25. Failure to abide by the Administrative Applications Data Management Policy, Electronic File Sharing Policy, and/or Technology Acceptable Use Policy.

26. Unauthorized use of the University's name, logo, or other symbol.

27. Improper use of University vehicles. This includes rental and lease vehicles.

28. Continued participation in any Student Organization activities, including but not limited to: meetings or acceptance of new members during any period that a Student Organization is not recognized by the University and/or other conduct in violation of sanction imposed on a Student Organization.

ACADEMIC MISCONDUCT PROCEDURES A faculty member who suspects cheating or plagiarism in work submitted in fulfillment of a class requirement should confer with the student submitting the work in an attempt to determine whether a violation has occurred.

The faculty member has the discretion to accept the work as academically and/or artistically honest, or to resolve the issue as a classroom issue, or to refer the matter to the Department Chair. In the event the student does not concur with the disposition proposed by the faculty member, the student may refer the matter to the Department Chair. If the matter is referred to the Department Chair, the Chair and faculty member will meet with the student to pursue information that may be pertinent.

1. The student does the assignment over or retakes the test.

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2. The student receives no credit for the plagiarized assignment.

3. The student fails (or receives no credit) for the class.

4. The student is referred to the Provost or designee for further academic sanction.

The Chair will inform the student, in writing, of the finding and the sanction imposed. If the sanction imposed is failure (or no credit) for the class, the Chair's letter to the student constitutes a letter of reprimand. A copy of any letter of reprimand is retained by the University as a component of the accused student's educational record.

An academic sanction imposed or approved by the Provost or designee is not subject to further review or appeal.

If the Provost or designee, in consultation with the Department Chair and the faculty member, determines that just cause exists, the Provost or designee may refer the matter may to the Senior Student Affairs Officer, or designee, to be dealt with as a disciplinary matter under the general provisions of these Community Standards.

DISCIPLINARY PROCESS Any person may file a report regarding any student or Student Organization alleging misconduct. To initiate the Student Conduct process, reports shall be prepared in writing and directed to the Senior Student Affairs Officer, or designee. A report should be submitted as soon as possible after the alleged misconduct takes place. Community members may submit reports through this electronic form. Reports may be submitted at massart.edu/help. PROCESS

1. The Senior Student Affairs Officer, or designee, shall determine if a complaint alleges or addresses a potential violation of the Community Standards and will notify the accused student of such allegations. The decision to continue a complaint through the Student Conduct process is the decision of the Senior Student Affairs Officer, or designee.

2. Generally, the Senior Student Affairs Officer, or designee, will assign a Community Standards officer(s) to the case who will investigate, schedule a conference with the accused student(s) and other individuals as deemed necessary and appropriate. If a situation arises where an alleged violation is believed to have great impact on the University community, the case may be referred to a University Hearing Board that may be comprised of a student or students, faculty and staff.

3. The Senior Student Affairs Officer, or designee, will determine what testimony, witnesses, or other information is relevant and may exclude information or witnesses that are deemed immaterial and/or irrelevant.

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4. The Senior Student Affairs Officer, or designee, may consult with the Office of Transition and Leadership Programs and other relevant University Officials regarding allegations regarding Student Organizations or that imply Student Organization involvement.

If the Senior Student Affairs Officer, or designee determines that a violation exists, three procedural options are available.

1. Verbal or Written Reprimand - For low-level offenses, the CSA may issue a verbal or written reprimand to the Accused Student. Reprimands shall not be subject to a hearing before a Hearing Board or an appeal.

2. Administrative Resolution - An Administrative Resolution is reached only upon the mutual agreement of the CSA and the Accused Student. By accepting an Administrative Resolution, the Accused Student waives his/her right to a hearing before the Hearing Board or an appeal. If the CSA and the Accused Student cannot agree on an Administrative Resolution the matter proceeds to a Hearing Board hearing. Failure by the Accused Student to appear for an Administrative Resolution meeting with the CSA will result in discipline of the Accused Student by the CSA and a forfeiture of his/her rights to a hearing or appeal.

3. Hearing Board - When an Administrative Resolution cannot be reached or it is in the best interest of the student, the The Senior Student Affairs Officer, or designee shall refer the alleged violation to a Hearing Board for a hearing. Please see Section 2 below for Hearing Board Hearing rules. HEARING BOARD a. A Hearing Board shall be scheduled by the CSA not later than thirty (30) days following an Accused Student’s request for a hearing. If no hearing is requested, the hearing shall be scheduled by the CSA no later than thirty (30) days from the date of the Administrative Resolution meeting. b. A written Statement of Charges shall be presented to the Accused Student not less than five (5) days prior to the hearing. c. A Hearing Board hearing is an administrative hearing. The rules of evidence do not apply. d. In a matter involving more than one Accused Student, the Hearing Board may permit at its discretion individual hearings for each Accused Student. e. The Accused Student has the right to be accompanied by any advisor (define above) of his/her own choosing and at his/her own expense. The advisor may be another student, faculty member, administrator or an attorney. The advisor may not otherwise be involved in the proceedings. An advisor’s role is limited to advising the Accused Student directly and discretely. An advisor is not permitted to participate directly in the hearing. If an attorney will be your advisor, please let the hearing officer or hearing board chair know at least three business days in advance. Requests to change proposed meetings to accommodate an Advisor’s schedule will be considered but may not always be granted.

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HEARING BOARD PROCESS a. A hearing is normally conducted in private. b. There shall be a record created of all hearings. The record shall be the property of the College. c. All procedural questions are subject to the final decision of the Hearing Board. d. Admission of any person(s) to the hearing shall be at the discretion of the Hearing Board. e. A hearing shall proceed as follows:

 The CSA presents the Statement of Charges on behalf of the College. The CSA may present documents, materials and/or witnesses in support of the Statement of Charges.  Accused Student responds to the Statement of Charges. The student may present documents, materials and/or witnesses in response to the Statement of Charges.  Following the parties’ presentations, the Hearing Board may question each party, their witnesses and/or review all information presented. The Hearing Board has the discretion to request additional documents, materials or information from either party.  While direct cross-examination by the parties is not permitted, each party will be given the opportunity to question the other by presenting questions through the Hearing Board. If the Hearing Board determines a question is relevant, the other party will be asked to respond.  The Hearing Board shall have a final opportunity to question the parties. f. After the hearing, the Hearing Board shall determine by majority vote whether the Statement of Charges has been proven. g. A Hearing Board’s decision shall be based on a preponderance of evidence standard. h. Within fifteen (15) days of the conclusion of a hearing, the Hearing Board shall issue a written decision outlining its findings and disciplinary action, if any, to the parties. SANCTIONS A student found in violation of the College’s community standards shall be subject to sanctions, including but not limited to:

Verbal Reprimand – The lightest form of disciplinary action. A verbal warning may be documented in writing.

Written Reprimand – An official written notice to a student that his/her conduct is in violation of College rules or regulations and will not be tolerated.

Loss of Privileges - Denial of specified privileges for a designated period of time.

Restrictions - Denial of access to any campus facility, activity, class or program.

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Community Restitution Project: Assignment of an appropriate service project that will benefit the University community, responsible student or others.

Educational Program/Project: Participation in a health or safety program , online trainings or seminars, and other assignments as warranted. The student may be required to pay a fee associated with the program/project.

B.A.S.I.C.S. Workshop: BASICS stands for Brief Alcohol Screening and Intervention for College Students, and is aimed at students who have had negative experiences or problems related to alcohol and drug use. BASICS is an evidence-based program that helps students make better alcohol-use decisions and reduce their risks for alcohol-related harm. BASICS provides at least two non-confrontational, non-judgmental sessions with a staff member. Payment of the associated $150 fee is due by the completion of the first workshop.

Restitution: Compensation for loss, damage or injury to an individual, a group, or the University for which the student was found responsible, whether intentionally or accidentally. This may take the form of appropriate service or monetary or material replacement.

Disciplinary Probation I: Disciplinary Probation I is a serious warning that a student's behavior has breached the standards of the University community. Subsequent violations during the period of probation are likely to lead to more serious disciplinary action. The probation may last for any specified period. Students on Disciplinary Probation I are still considered to be in good disciplinary standing at the University, but eligibility to participate in certain programs may be affected. Some of these activities include representing the student body as a member of the SGA Executive Board and becoming or remaining a member of residential staff.

Disciplinary Probation II: Disciplinary Probation II indicates a more serious breach of the Community Standards and may likely to lead to suspension from the University for any further disciplinary infractions. The probation may last for any specified period. Students on Probation II are not considered to be in good disciplinary standing at the University for the duration of probation, and are ineligible to participate in various University activities unless an exemption is made by the Senior Student Affairs Officer.

Permanent Residence Hall Suspension: Permanent separation of the student from the residence halls. Students suspended from Housing may not be guests in housing.

Temporary Residence Hall Suspension: Temporary separation of the student from the residence halls for a specific period of time, after which the student may reapply for housing. Reapplication for housing does not guarantee immediate placement. Conditions for returning to the residence halls may be specified. During this period of time, affected students may not be guests in the residence halls.

Relocation of Residence: Required assignment to another residence area.

University Expulsion: Permanent separation of the student from the University. A student who has been expelled is prohibited from participating in any University activity or program. The individual may not be in or on any University premises or at University-sponsored events.

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University Suspension: University Suspension is a separation from the University for a designated period of time. Students who are suspended from the University are restricted from all University premises and activities, including but not limited to, course registration, class attendance, participation in co-curricular activities and University housing. Students who have been separated from the University for a period of time must meet with the Vice President for Student Affairs, or designee, at least two (2) weeks prior to the next registration period for which the student is eligible to review any outstanding sanctions and the readmission process.

University Suspension in Abeyance - Under certain circumstances, University Suspension may be held in abeyance until the end of a designated time. If a student is again found responsible for violating the Community Standards or any other University policy during the designated period, University Suspension may take effect immediately.

A student who violates the community standards while serving any of the above sanctions shall be subject to further discipline, up to and including expulsion. The intent of the College is to impose sanctions in a progressive manner, beginning with the least punitive sanction. However, depending on factors, such as the nature and severity of a student’s violation and/or prior disciplinary history, the College reserves the right to impose any of the above-referenced sanctions at any time. APPEAL a. Within five (5) business days of receiving the Hearing Board’s decision, either the CSA or the Accused Student may appeal the Hearing Board’s decision to the College’s Appeals Officer. b. An appeal must be in writing and be based on a credible claim that: the hearing was not conducted in conformity with the community standards; the decision was not supported by a preponderance of the evidence presented; or new evidence exists, which was not presented at hearing because it was not reasonably known to the Accused Student at that time, and which is sufficiently relevant such that it could alter the Hearing Board’s decision. c. The Appeals Officer shall issue a written decision within ten (10) days of receiving the appeal. The Appeals Officer may accept, reject or modify the Hearing Board’s decision or sanction. d. The Appeals Officer’s decision shall be final.

1MassArt reserves the right to modify the Community Standards when, in its discretion, such action will serve the best interests of the University or its students. The provisions of this Standards shall not be construed to replace or supersede any state, federal or local laws that also may apply to students or others.

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