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1 DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS This format is designed to offer students: MORE COLLABORATIVE TEACHING In several instances, courses have been rede- NATE HARRISON signed or thought entirely anew to include two (or Dean of Faculty more!) faculty per course. As a result, students will A global pandemic. An economy in turmoil. Both con- gain expanded understanding of a particular topic or ditions that are negatively impacting everyone, and es- technique as it is delivered from multiple viewpoints. pecially—tragically—BIPOC communities. On top of these We believe different perspectives or approaches will SHU difficulties, our collective failure as a country to confront only help students in the development of nuanced systemic racism has led to an insistence on justice that has perceptions of the world around them. echoed around the world. And as if the present moment 1X was not tumultuous enough, there will be a presidential INCREASED ONE-ON-ONE INTERACTIONS WITH FACULTY election unlike any other come November. 1Y There are many unknowns ahead, but one thing we Courses with more than one teacher will also allow know for sure is that the Fall 2020 semester will not be nor- for more customized and intimate conversations with 1Z mal. “Business as usual” is not possible. Nor should it be. students individually. In turn, students will get to In these trying times, let us reaffirm the important roles know more faculty members, which will be of great 2X that artists have played in responding to their contem- benefit during the SMFA experience and beyond. porary circumstances. With both compassion and critical OPPORTUNITIES TO WORK IN SMALL GROUPS 2Y vigor, artists remind us that, sometimes, radical conditions The ability for students to “break out” into smaller 2Z demand radical artistic activity. They remind us that an- groups within the online class format means that there other, better world is possible by expressing their ideas will be increased opportunity for cohort-building. in new configurations of shapes, words, images, sounds, 3X gestures, and actions. A RANGE OF COMMUNITY-WIDE PROGRAMS To this end, SMFA’s faculty and staff have worked hard Given the asynchronous nature of much of the Fall 3Y to rise to this pivotal moment. We have dramatically re- 2020 curriculum, artist talks, SMFA Library Programs, 3Z vamped our course offerings (and actually, our approach and Career Center events will be even more acces- to art education) to help artist-students navigate the com- sible. Additionally, weekly pre-recorded lectures plex, find clarity in confusion, and work toward fundamen- across several areas of the school will be available to tal equality amidst obvious inequality. all students. The studio arts curriculum for Fall 2020 mixes in-depth virtual instruction with options for students to receive sup- In sum, we offer here an exceptional educational plies and equipment at home or to access studios and facil- experience that is not to be missed—one that students ities in person to complete coursework. can rely on being successful regardless of the epide- miological situation in the fall. FALL 2020 2 Monday Tuesday Wednesday Thursday Friday >>>> CLICK THE DAY OF THE WEEK TO NAVIGATE THE CATALOG

COURSES CROSS-DISCIPLINARY MFA PROGRAMMAT PROGRAM ENGLISH 4 SHU SMFA SMFA MAT ENGS

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS 9 am - 1 pm 1X DIGITAL MEDIADRAWING FILM & ANIMATIONGRAPHIC ARTSPAINTING PERFORMANCEPHOTOGRAPHYPRINTMAKINGSCULPTURESOUND VIDEO VISUAL & MATERIAL 9 am - 11 am 1Y

STUDIES 11 am - 1 pm 1Z

2 pm - 6 pm 2X

2 pm - 4 pm 2Y

4 pm - 6 pm 2Z

6 pm - 10 pm 3X

6 pm - 8 pm 3Y

8 pm - 10 pm 3Z

FALL 2020 3 5 Monday 31 Wednesday 62 Friday

SMFA-0001 First Year Program [Sec. 1: 9-11] SMFA-0102 Print Now 9-11, 2-4 SMFA-0093 Senior Thesis 9-1 PAI-0075 Intermediate Studio Seminar 9-1 PHT-0112 Digital Photo: History & Practice 9-11, 2-4 SMFA-0105 Building Utopia: 3D & the Imaginary 9-1 SMFA-0112 Socially Engaged Art 9-1 SMFA-0103 Draw & Print: Walls to Halls 9-1 SMFA-0105 Drawing Dialogues 9-1 PAI-0153 Intermediate Paint, Abstraction & Body 9-1 SMFA-0111 Body as Site 9-1 PHT-0118 Intermediate Photography 9-1 SMFA-0175 The Dynamic Printed Image 11-1 PRT-0163 Papermaking: Test Kitchen 9-1 VMS-0001 Intro to Visual & Material Studies 10-12:30 GRA-0183 Artists’ Books Today 11-1, 2-4 PAI-0193 Painting Directed Study 11-1 SMFA-0101 Repetition, Pattern, & Seriality 11-1, 2-4 SMFA-0109 Virtual Reality 2-4, 6-8 PHT-0110 Photography After the Internet 11-1 VMS-0105 Cinematic Cities 1:30-2:30 DRW-0018 Intro to Drawing: Intensive 2-6 DRW-0051 Intro to Figure Drawing 11-1 SMFA-0001 First Year Program [Sec. 2: 2-4] PER-0131 New Social Intimacies 2-6 SND-0182 A History of Sonic Art 11-1 SCP-0030 Intro to 3D Strategies 2-6 DRW-0193 Drawing Directed Study 2-4 SMFA-0161 Art & Environment: Visual Ecology 2-6 SCP-0107 Narrative Projects 2-6 VMS-0161 Art & Environment: Visual Ecology 2-6 SMFA-0104 Video Art & Sound: A Reckoning 2-6 PAI-0019 Intro to Abstraction: Flatlands 6-8 SMFA-0110 Sound & Moving Image 6-8 PAI-0019 Beginning Painting 6-8

MFA PROGRAMMAT PROGRAMENGLISH 18 47 71 SMFA MAT ENGS Tuesday Thursday ARE IN THE LAST SECTION DIG-102 The Art of the Fake 9-1 OF THIS CATALOG DRW-0067 Altered Landscapes 9-1 SCP-0145 Weaving: Concept & Construction 9-1 SMFA-0108 Open Studio 9-1 PAI-0003 Intro to Oil Painting: Thing-Power 9-1 PHT-0126 The Frame & the Subject 9-1 PRT-0162 Print & Paper: Home Strategies 6-8 SCP-0101 Object a Week 9-1 FLM-0114 The Naturalist Animator 9-11, 2-4 VMS-0148 Why Do Icons Matter? 10:30-11:45 VMS-0091 Shaping Modernity 10-11 DRW-0013 Intro to Drawing Studio [Sec. 1: 11-1] VMS-0148 Why Do Icons Matter? 10:30-11:45 DRW-0013 Intro to Drawing Studio [Sec. 2: 2-4] PAI-0131 Advanced Painting 11-1 DRW-0114 Representation and Narrative 2-4 SMFA-0175 The Dynamic Printed Image 11-1 FLM-0172 Directed Study: Media Arts 2-4 SMFA-0113 Webcrawlers: Artist’s Pub. Based on Web Sourcing 11-1, 2-4 PHT-0135 Witness: Art & Action 2-4 DRW-0114 Representation and Narrative 2-4 SMFA-0106 Performing & Animated Objects 2-4, 6-8 SCP-0172 Directed Study 2-4 PHT-0149 Image, Narrative, & Psychoanalysis 2-6 VID-0110 Video Installation 2-6 PRT-0162 Print & Paper: Home Strategies 6-8 SMFA-0107 Performance as Sculpture/Sculpture as Performance 2-6

FALL 2020 4 Monday

6 SMFA-0001 First Year Program [Sec. 1: 9-11] 7 PAI-0075 Intermediate Studio Seminar 9-1 8 SMFA-0112 Socially Engaged Art 9-1 9 PAI-0153 Intermediate Paint, Abstraction & Body 9-1 10 SMFA-0175 The Dynamic Printed Image 11-1 11 GRA-0183 Artists’ Books Today 11-1, 2-4 12 SMFA-0109 Virtual Reality 2-4, 6-8 13 DRW-0018 Intro to Drawing: Intensive 2-6 14 PER-0131 New Social Intimacies 2-6 15 SCP-0030 Intro to 3D Strategies 2-6 16 SMFA-0161 Art & Environment: Visual Ecology 2-6 17 VMS-0161 Art & Environment: Visual Ecology (continued)

FALL 2020 5 Monday Friday

TANYA CRANE MAYA ERDELYI-PEREZ MICHAEL BARSANTI KATA HULL Section 1 Section 2

SMFA-0001 2 SHU FIRST YEAR 1X Synchronous & asynchronous Section 1 am am meetings. Arrangements can be 9 - 11 1Y made, at the discretion of the PROGRAM faculty, for those students in dif- 1Z ferent time zones who cannot meet The First Year Program is designed to orient incoming BFA and Combined synchronously. With permission, Degree students to the singular opportunities offered at SMFA at Tufts. This sessions will be recorded for stu- 2X dent access. Individual meetings course will combine analytical thinking and discussion as well as prompts with faculty. for students to create work. Students will work in break-out groups that re- Section 2 2 pm - 4 pm 2Y Students enrolled in this course spond to a variety of issues within contemporary art. Each week will feature will be required to have a personal a visiting artist who brings a unique perspective into the incredibly diverse 2Z computer and consistent access world of art and making. Students will also have opportunities to visit area to the internet. Students will be museums, galleries and artists’ studios virtually and make work in response provided with some materials, 3X some software, and the opportu- to these experiences. If circumstances allow there will be opportunities for 3Y nity to borrow some specialized on campus work in studios utilizing all necessary health protocols. equipment. The terms of resource Students will be introduced to the academic support and resource op- 3Z provision and the exact equip- portunities through the Center for the Enhancement of Learning and Teach- ment, software, and material ing (CELT), the Student Accessibility & Academic Resource (StAAR) Center, requirements of the course will our Research and Instruction Librarian, and the exhibitions and gallery be shared with students as the semester nears. Resources will be staff. We will also have introductions to the SMFA labs and their individual provided by mail or curbside pick- health and safety protocols. up depending on each student’s There will be approximately 1 to 1.5 hours of synchronous and asynchro- location. Studio spaces may be nous content weekly. accessible by appointment. Phys- ical distancing and other COVID-19 safety protocols will be required. FALL 2020 6 Monday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PAI-0075 DAVID ANTONIO CRUZ INTERMEDIATE 4 SHU STUDIO SEMINAR Synchronous & asynchronous 9 am - 1 pm work. Arrangements can be made, [intermediate] 1X at the discretion of the faculty, for those students in different time This class is a bridge between project-based ba- 1Y zones who cannot meet synchro- nously. With permission, sessions sic courses and the independent work of Senior Thesis. 1Z will be recorded for student Helps students develop a strong and committed stu- access. Individual meetings with dio-based practice where they experience the challeng- faculty. es and rewards of sustaining a body of work from incep- 2X Students enrolled in this course will be required to have a personal tion to exhibition. 2Y computer and consistent access Each student will be provided with studio space to to the internet and to purchase support their developing practice, and it is essential that 2Z or source some materials and/ applicants are self-motivated and willing to spend sub- or equipment. The resource requirements of this course are stantial time working out of class each week. Applicants 3X flexible and we are committed to to this course must be in their second or third year and 3Y working together to find creative enrolled at least half-time studio at SMFA throughout solutions to meet the goals of this both Fall and Spring semesters. 3Z course with whatever resources a student has available. The terms of Prerequisites include: at least one introductory and resource provision and the exact one intermediate level course, or demonstrated equiva- equipment, software, and material lent through portfolio and statement. requirements of the course will Faculty permission required. be shared with students as the semester nears. Studio spaces may be accessible by appointment. Physical distancing and other COVID-19 safety protocols will be required. FALL 2020 7 Monday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0112 JULES ROCHIELLE SIEVERT

Synchronous & asynchronous work. Arrangements can be made, SOCIALLY ENGAGED ART 4 SHU at the discretion of the faculty, for those students in different time [all levels] zones who cannot meet synchro- nously. With permission, sessions 9 am - 1 pm 1X will be recorded for student access. How does an artist respond to crisis and Individual meetings with faculty. 1Y Group project work. long-standing racial and economic injustice? This class Students enrolled in this course is for intermediate and advanced artists who want to use 1Z will be required to have a personal their imagination to build skills in the service of social computer and consistent access justice. We will explore intersectional inequities sur- to the internet. Students will be 2X provided with some materials faced by Covid-19 and historic institutionalized racism. and the opportunity to borrow This class will consider socially engaged art strategies 2Y some specialized equipment. The to address uncertainty: Where and how does our work resource requirements of this overlap with cultural practices generated by recent so- 2Z course are flexible and we are cial movements around the world? Through this course committed to working together to 3X find creative solutions to meet the offering students will be provided with technical support goals of this course with whatever and assistance with research. We will review artist proj- 3Y resources a student has available. ects, address recent strategies, and examine the shift The terms of resource provision of socially engaged artists from “studio to situation” or 3Z and the exact equipment, software, “participant.” and material requirements of the course will be shared with students Open to students of all disciplines with a basic knowl- as the semester nears. Resources edge of Adobe Creative Suite, contemporary art history, will be provided by mail or curbside and interest in community organizing and honoring em- pickup depending on each student’s bodied experience. location. Studio spaces may be Level: Open to all levels. Group Projects are possible accessible by appointment. Physi- cal distancing and other COVID-19 but not required. Class time will be 50 percent synchro- safety protocols will be required. nous / 50 percent asynchronous time.

FALL 2020 8 Monday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PAI-0153 [intermediate] INTERMEDIATE PAINT: RIA BRODELL EVA LUNDSAGER ABSTRACTION SHU Synchronous & asynchronous 4 work. Arrangements can be made, & BODY at the discretion of the faculty, for those students in different time 9 am - 1 pm zones who cannot meet synchro- 1X nously. With permission, sessions 1Y will be recorded for student Team-taught course that looks at painting as it re- access. Individual meetings with faculty. lates to the experience of being a body moving through 1Z Students enrolled in this course the world. Students explore and utilize the figure, the will be required to have a personal body, ideas of abstraction, and/or representation, and 2X computer and consistent access address individual concepts in ways ranging from lit- to the internet and to purchase or source some materials and/or eral depictions of the figure to completely non-rep- 2Y equipment. resentational abstraction. Discuss how painting has The resource requirements of addressed the human experience both historically and 2Z this course are flexible and we are in our own time. Examine artists and texts that spur committed to working together to find creative solutions to meet the discussion; develop art historical knowledge around 3X goals of this course with whatever abstract and figurative painting; strengthen students’ 3Y resources a student has available. understanding and ability to communicate through The terms of resource provision their work. Importantly, class responsively reacts to 3Z and the exact equipment, soft- ware, and material requirements the new and diverse ways in which students may be of the course will be shared with accessing, encountering and considering issues of ab- students as the semester nears. straction and the body in relationship to contemporary Resources will be provided by mail conversations and crises. Intermediate level course. or curbside pickup depending on each student’s location. At least one previous introductory painting course Studio spaces may be accessible recommended. by appointment. Physical distanc- At least one previous introductory painting course ing and other COVID-19 safety protocols will be required. recommended. FALL 2020 9 Monday Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0175 [all levels]

EULOGIO GUZMAN PETER SCOTT

SHU Synchronous & asynchronous THE 4 work. Arrangements can be made, at the discretion of the faculty, for those students in different time DYNAMIC zones who cannot meet synchro- 1X nously. With permission, sessions will be recorded for student PRINTED 1Y access. am pm Individual meetings with faculty. 11 - 1 1Z Group project work. IMAGE Students in this course will be 2X required to have a personal com- Relief Printmaking, puter and consistent access to the internet. Students will be provided Transformed Graphics and Visualizing Collaborations in Unprecedented Times 2Y with some materials. The resource This course comes out of our shared interest in the plagues, and trans global exchanges that morphed our requirements of this course are 2Z flexible and we are committed to history, adaptation and morphing of printed imagery present world. The invention of the press brought ar- working together to find creative throughout the Americas, from the dawn of Western tistic innovation to this cataclysm and facilitated the 3X solutions to meet the goals of this printing/publishing, through early colonization, to the movement of printed images from Europe to Mexico, course with whatever resources a modern era. The course will provide students the oppor- Mexico to Asia, South America, and then back to Europe. 3Y student has available. The terms tunity to examine historical case studies from the 16th This unprecedented transfer of knowledge, from many of resource provision and the exact 3Z equipment, software, and material to the 20th century and to respond to these transforma- different directions, fundamentally shaped socio-eco- requirements of the course will tions in their own exploration of a range of relief print nomic environments and reinvested graphic imagery in be shared with students as the applications, from block carving and incising to digital new 2d and 3d ways. semester nears. Resources will be provided by mail or curbside pick- production. This new course will promote this dynamism of ex- up depending on each student’s Throughout history print has facilitated distanced change by combining a history-based studio exploration location. connections providing the opportunity to transcend of form to invest imagery with transcendent meaning. Studio spaces may be accessible by appointment. Physical distanc- adversity and produce a brighter future. The awareness It incorporates process and collaboration as much as ing and other COVID-19 safety of a New World 500 years ago brought the conquest transmission, reception, circulation and visual develop- protocols will be required. of mainland Americas including death, destruction, ment of ideas. FALL 2020 10 Monday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS GRA-0183

ASUKA OHSAWA JESSECA FERGUSON

ARTISTS’ BOOKS TODAY 4 SHU

What is an artist book? What are the purposes and mo- 1X tivations behind the artistic practice of making books in the 21st century? 1Y This team-taught, mixed media studio class explores the handmade artist book in its many configurations: as 11 am - 1 pm 1Z visual poetry, as critique/social protest, as narrative, as memoir and as museum. Binding and image-making 2X demonstrations, workshops and assigned problems will expand students’ awareness of the artist book as a contem- 2 pm - 4 pm 2Y porary vehicle for content and hands-on innovation. 2Z Inspired by examples from the history of the book (the ancient codex, medieval illuminated manuscripts, 19th century albums and commonplace books, altered books) 3X and drawing upon global traditions (Asian, Middle Eastern, 3Y Western), we will explore the history and culture of art- Synchronous & asynchronous 3Z work. Arrangements can be made, ist books. As we explore the work of contemporary prac- at the discretion of the faculty, titioners, we will see that the artist book offers a unique for those students in different context for understanding and responding to the complex time zones who cannot meet synchronously. With permission, realities that surround and inform our daily experience. sessions will be recorded for stu- This course will encourage and nurture each student’s dent access. Individual meetings response as they develop their own perspective in the form with faculty. Group project work. of artist books. Complementing the hands-on technical in- Students enrolled in this course will be required to have a personal struction, this course will also feature presentations, visit- computer and consistent access ing artists, virtual field trips, readings and critiques. to the internet. Students will be provided with the opportunity FALL 2020 to borrow some specialized equipment. 11 Monday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0109 [intermediate]

TBA

VIRTUAL REALITY 4 SHU This hybrid studio/seminar class focuses on the practice and theory of virtual reality as a contem- porary fine art form. Using the software Unity3D, 1X students create immersive interactive audio-visual Synchronous & asynchronous 1Y work. Arrangements can be made, environments to be viewed with VR headsets, mobile at the discretion of the faculty, for phones, or as video art. 1Z those students in different time Alongside the creative work of building their own zones who cannot meet synchro- custom VR projects, the class will discuss the history nously. With permission, sessions 2X will be recorded for student access. of the philosophical, aesthetic, and ethical dimen- pm pm Individual meetings with faculty. sions of mimetic representation. A key function of the 2 - 4 2Y Students enrolled in this course course is to differentiate and expand on what makes a 2Z will be required to have a personal virtual reality experience a work of art, as opposed to computer and consistent access a game or a tool. For part of each class students will to the internet. Students will be 3X provided with some software and synchronously attend technical instruction, critique, the opportunity to borrow some and discussion. 6 pm - 8 pm 3Y specialized equipment. The terms This course is appropriate for students who have of resource provision and the exact 3Z equipment, software, and material some experience with video, and who are comfortable requirements of the course will engaging with critical concepts. If any questions, be shared with students as the please contact the instructor. semester nears. Resources will be provided by mail or curbside pickup depending on each student’s location. Studio spaces may be accessible by appointment. Physi- cal distancing and other COVID-19 safety protocols will be required. FALL 2020 12 Monday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS DRW-0018

MARA METCALF INTRO TO DRAWING: Synchronous & asynchronous 4 SHU work. Arrangements can be made, at the discretion of the faculty, for those students in different time INTENSIVE zones who cannot meet synchro- [all levels] 1X nously. With permission, sessions Intro to Drawing Intensive is a comprehensive intro- will be recorded for student duction to drawing techniques, strategies and materials. 1Y access. Individual meetings with This is a gateway course for all students interested in in- faculty. 1Z Students enrolled in this course terpreting and responding to the world through drawing. will be required to have a personal During the semester, students will build strong technical computer and consistent access and perceptual skills through direct observation and rig- 2 pm - 6 pm 2X to the internet and to purchase orous practice. or source some materials and/ 2Y or equipment. Students will be Drawing is also a way of thinking with the body and provided with some materials. as a conceptual practice it overlaps many areas of art 2Z The resource requirements of this activity. Through projects and prompts, students will course are flexible and we are evolve an understanding of the unique opportunities for committed to working together to 3X find creative solutions to meet the transformation and expression that drawing provides. goals of this course with whatever Coursework will include demonstrations, presentations, 3Y resources a student has available. exercises and assignments. The terms of resource provision 3Z and the exact equipment, soft- ware, and material requirements of the course will be shared with students as the semester nears. Resources will be provided by mail or curbside pickup depending on each student’s location. Studio spaces may be accessible by appointment. Physical distancing and other COVID-19 safety proto- cols will be required. FALL 2020 13 Monday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PER-0131 [intermediate]

ANTHONY ROMERO NEW SOCIAL INTIMACIES: 4 SHU

ART IN AND AFTER A PANDEMIC 1X

There is no doubt that we live in unprecedented 1Y times. The political and social upheavals of recent 1Z years have all but been submerged by the social and political crisis of the COVID-19 global pandemic, but even as this new crisis has fundamentally altered 2 pm - 6 pm 2X how we live, work, and are together, new publics, Students can expect synchro- 2Y nous and asynchronous learning. networks, and collectivities have emerged. Bor- Synchronous class time will focus rowing from recent writings on the COVID-19 global 2Z on discussions and readings, and pandemic and the social arrangements revealed by will be recorded for students who social distancing, this course invites students to re- unable to meet during that time. 3X Arrangements can be made, at the think practices of making and being in relationship to discretion of the faculty, for those emerging intimacies and socialities. Throughout this 3Y students in different time zones course students will be asked to watch, listen, and 3Z who cannot meet synchronously. virtually encounter works of art, lectures, and various Students enrolled in this course will be required to have a personal broadcast media, and are invited to respond critically computer and consistent access and creatively to the ways in which a rapidly shifting to the internet. Students will be contemporary context has reimagined what it is to provided with some software and make art in the 21st century. the opportunity to borrow some specialized equipment. Resources will be provided by mail or curb- side pickup depending on each student’s location. FALL 2020 14 Monday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SCP-0030 [all levels] INTRO TO 3D STRATEGIES SHU TANYA CRANE 4 BETSY REDELMAN DIAZ SAMANTHA FIELDS 1X

How do you make a soap box car out of a cardboard 1Y box, 4 produce bags, a strawberry container, 2 enve- lopes, a Q-tip, a t-shirt, paper clips, flour, an egg, and 1Z a rubber band? What strategies are needed to meld these seemingly disparate materials into a functional 2 pm - 6 pm 2X and visually appealing object? Intro to 3D strategies will introduce approaches to 2Y help plan, model, and create sculptural objects that 2Z exist in time and space. Together, we will explore the physical skills needed to connect actual materials and understand the connections between those materials 3X and their historical, political, and contemporary con- 3Y texts. From the nonsensical and absurd, students will be challenged using collaborative game-playing, cre- 3Z Synchronous meetings will occur internet. Students will be provided ative problem solving and competitive make-a-thons at the beginning of class to establish with some materials, some software, and will be introduced to the various SMFA fabrication the day’s events, tasks and exercises. and the opportunity to borrow some Asynchronous meetings will occur in specialized equipment. Resources will facilities and studios. the afternoons in the form of break-out be provided by mail or curbside pickup groups and individual meetings with depending on each student’s location. the professors. Studio spaces may be accessible by Students enrolled in this course appointment. Physical distancing and will be required to have a personal other COVID-19 safety protocols will be computer and consistent access to the required. FALL 2020 15 Monday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0161 VMS-0161 [all levels] SILVIA BOTTINELLI EMILY GEPHART PATTE LOPER MARY ELLEN STROM

ART & ENVIRONMENT: VISUAL ECOLOGY 3-4 SHU

Art & Environment: Visual Ecology is an experiment in adap- UNIT 1: 1X Synchronous & asynchronous LANDSCAPES meetings. Arrangements can be tive and transdisciplinary collaboration, the course engages with AND ECOLOGIES 1Y made, at the discretion of the social and environmental discourses as expressed through art EMILY GEPHART faculty, for those students in dif- making and the humanities. Students will choose a combination ferent time zones who cannot meet UNIT 2: 1Z synchronously. With permission, of faculty-led units that address broad themes including racial PARADIGMS OF sessions will be recorded for stu- and environmental justice, de-coloniality, care ethics and new ENVIRONMENTAL PRACTICE 2 pm - 6 pm 2X dent access. Individual meetings materialism. Students will acquire skills to produce cross-media with faculty. SILVIA BOTTINELLI Students enrolled in this course projects using video, painting, installation, performance, and re- 2Y UNIT 3: will be required to have a personal search-based projects in response to critical conversations about FIELDWORK 2Z computer and consistent access the health and regeneration of planet Earth. Weekly modules will PROJECTS to the internet. Students will be involve tutorials, screenings, podcasts, writing, and open-ended MARY ELLEN STROM provided with some materials, 3X some software, and the opportu- assignments. Our hope is to develop a vital learning community UNIT 4: by fostering active participation and creation during this uncertain OBSERVATIONAL nity to borrow some specialized 3Y equipment. The terms of resource PAINTING time. PATTE LOPER provision and the exact equip- 3Z ment, software, and material Students select a combination of three of five units for either a UNIT 5: requirements of the course will SUSTAINABLE PAINTING be shared with students as the Visual and Material Studies option (VMS-0161) for 3 credits; or a & INSTALLATION semester nears. Resources will be Studio Art option (SMFA-0161) for 4 credits. PATTE LOPER provided by mail or curbside pick- Students may only select either the Studio or VMS section to up depending on each student’s location. count toward their degree requirements. Studio spaces may be accessible Enrollment in both courses is not permitted. by appointment. Physical distanc- ing and other COVID-19 safety protocols will be required. continue to the next page to read about each unit FALL 2020 >>>>>>>> 16 Monday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS

ingly popular subject, but we will also learn ings, written assignments and lively group SMFA-0161 UNIT 1: how its rise paralleled intensified resource discussion, students will investigate LANDSCAPES AND ECOLOGIES extraction, the dispossession of indigenous trans-historical case studies in the produc- VMS-0161 EMILY GEPHART peoples, and the exploitative plantation tion of landscape that illuminate how artists [all levels] This unit examines the origins of land- system. This unit’s three broad topics ad- have imposed knowledge upon ‘nature’ and scape as a genre and medium through which dress practices of Surveying & Mapping; the land, and have forged complex entan- ecological relationships have taken shape. Gardening & Cultivating; and Traveling & glements that have come to distinguish the We will consider why it has been an endur- Touring. Through weekly lectures, read- ‘Anthropocene.’

human and non-human entities. In this that actively remediate specific sites, find and visual studies; writings by artists, art 3-4 SHU UNIT 2: unit, we will study the ways that contempo- practical solutions to adapt to existing prob- critics, curators, and journalists; docu- PARADIGMS OF rary artists theorize such paradigm shifts by lems, and help connect local issues with mentation of artworks, videos, and more. ENVIRONMENTAL PRACTICE also reinventing modes of practice. We will global ones. Finally, we will reflect on art’s Pre-recorded weekly lectures expand on SILVIA BOTTINELLI discuss art that rethinks exclusive defini- power to make the invisible consequences assigned materials, which students are in- Artists, scholars, scientists, and ac- tions of nature, unearths the origins of hi- of the ecological crisis visible, affecting vited to deconstruct through synchronous or 1X tivists often call for paradigm shifts in the erarchic classification criteria in museums, change on a large scale. Students form asynchronous discussions and active learn- value systems of industrial societies, ad- and highlights the colonial roots of environ- their own interpretations based on a diverse ing exercises. 1Y vocating for a redefinition of growth that mental racism. range of sources, including: peer-reviewed encompasses sustainable interactions of In addition, we will engage with works articles and chapters in art history/theory 1Z

UNIT 3: whether it’s in the built environment or the methods of observation, research, drawing, in place-based installation, cross-media FIELDWORK PROJECTS wilds. Fieldwork Projects is for students in- mapping and video. This is an opportunity art production, camera composition for 2 pm - 6 pm 2X MARY ELLEN STROM terested in producing artworks that operate to produce an artwork about a specific place the moving image and basic video editing. Fieldwork Projects is based on expe- at the intersection of social and environ- that you can develop an in-depth relation- During each week students will participate 2Y riential environmental learning. Students mental change. In this course we will inform ship with and discover new knowledge about in three hours of synchronous and asyn- will select a specific site and produce an ourselves of urgent environmental debates the site’s history, geography and biology. chronous learning including one hour of artwork in that location. Through produc- including racial and environmental justice, These place-based installations will be technical instruction; one hour dedicated to 2Z ing this site-specific artwork, students will settler colonialism and de-coloniality, produced using a range of media includ- the discussion of readings and screenings, develop new knowledge of the location and Indigenous Knowledges and relationship ing video, sound, sculpture, performance and/or artists working in the field and/or form deep, empathic relationships to place. building with the human and more than and painting. Along with producing these artist talks; and one hour to present and 3X Students can select a place wherever you human world. Through exercises students site-works, we will learn to document our dialogue about student’s individual art- are, in any location that you care about, will produce a site-specific artwork using projects. The course will present tutorials works-in-progress. 3Y

3Z will gain technical proficiency in painting harmonious painting compositions. Other and small group discussions. We will learn UNIT 4: and observation while interrogating the important skills covered include the use of safe oil painting or water-based oil paint- OBSERVATIONAL PAINTING Eurocentric roots of old master painting and light and dark to render volume and form, ing practices flexible for domestic or studio PATTE LOPER visuality. We will discuss how these tech- as well as techniques of under-drawing, environments. The work assigned will be in- This unit is designed for students of all niques have been used by contemporary under-painting, glazing, and scumbling. timate, able to be created on a desk or small levels who are interested in acquiring Euro- artists to critique traditional power struc- Students will participate in synchronous and table. pean painting methods from 1300-1700 that tures. Practical instruction consists of work- asynchronous learning that includes weekly utilize observation from nature. Students ing from life studies to create balanced and technical demos, assignments, readings,

UNIT 5: (or related media) to installation practic- experiment with using recycled, salvaged, while exploring how the larger themes of SUSTAINABLE PAINTING es. Throughout the semester, students will and otherwise non-traditional painting and the course – environmentalism, care ethics, & INSTALLATION be using their immediate environment as other materials to create work. We will ex- social and racial justice – can operate within PATTE LOPER an experimental laboratory for develop- plore how materiality, imagery, and site can your personal body of work. We will learn FALL 2020 This unit is designed to expose students ing site-specific and site responsive work. be used as powerful tools to create artwork safe painting practices designed to be flex- of all levels focused in painting and drawing We will focus on material studies, and will that is both economical and sustainable ible for domestic or studio environments. 17 Tuesday

19 DRW-0067 Altered Landscapes 9-1 20 SMFA-0108 Open Studio 9-1 21 PHT-0126 The Frame & the Subject 9-1 22 SCP-0101 Object a Week 9-1 23 VMS-0148 Why Do Icons Matter? 10:30-11:45 24 DRW-0013 Intro to Drawing Studio [Sec. 1: 11-1] DRW-0013 Intro to Drawing Studio [Sec. 2: 2-4] 25 DRW-0114 Representation and Narrative 2-4 26 FLM-0172 Directed Study: Media Arts 2-4 27 PHT-0135 Witness: Art & Action 2-4 28 SMFA-0106 Performing & Animated Objects 2-4, 6-8 29 PHT-0149 Image, Narrative, & Psychoanalysis 2-6 30 PRT-0162 Print & Paper: Home Strategies 6-8

FALL 2020 18 Tuesday

DIG DRW FLM GRA MTLPAI PER PHT PRT SCP SND VID VMS DRW-0067 [intermediate]

EVA LUNDSAGER

ALTERED LANDSCAPES 4 SHU Synchronous & asynchronous work. Arrangements can be made, at the discretion of the faculty, 9 am - 1 pm for those students in different 1X time zones who cannot meet The power and beauty of nature can be a great synchronously. With permission, source for reflection and comfort. Recent research has 1Y sessions will be recorded for proven the connection between experiences with nature student access. and feelings of well-being and resilience. In Altered 1Z Individual meetings with faculty. Landscape we will look to the natural world, wherev- Students enrolled in this course er and however that can be found, seen or understood: 2X will be required to have a personal from city parks to farmland, from a window view to a 2Y computer and consistent access to home garden, from the study of indoor plants to a mas- the internet. Students will be required to sive tree. These diverse spaces will guide us in our art 2Z purchase or source some mate- making, as a source for materials, inspiration, reflection rials and/or equipment. Other and imagery. Field notes, mindfulness exercises, and 3X materials will be provided. The extended drawings will serve as places for students to resource requirements of this 3Y course are flexible and we are reflect on the world around and within themselves. committed to working together to In addition to drawing, work made in the class may 3Z find creative solutions to meet the incorporate materials found in nature including pig- goals of this course with whatever ments and other natural materials, as well as photog- resources a student has available. The terms of resource provision raphy, sound and experiential actions, and there will and the exact equipment, soft- be opportunities for individual pursuits. We will learn ware, and material requirements about contemporary and historical artworks that respond of the course will be shared with to nature both physically and as a reflection of inner life, students as the semester nears. Resources will be provided by from earth works to painting and drawing to sculpture to mail or curbside pickup depend- solitary performance. ing on each student’s location. Studio spaces may be acces- FALL 2020 sible by appointment. Physical distancing and other COVID-19 safety protocols will be required. 19 Tuesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0108 [advanced]

MARK COOPER Advanced-level studio course with a focus on ANTHONY ROMERO providing time in the pursuit of individual projects. FLOOR VAN DE VELDE This class develops and expands students’ skills based on the needs of self-directed projects with 4 SHU a focus on individual feedback sessions with fac- ulty. The faculty will work with students to develop OPEN STUDIO resources on material processes, techniques and am pm 9 - 1 1X conceptual approaches relevant to the ongoing de- velopment of their research and ideas. This course 1Y is designed for graduate students and other ad- vanced students who are already invested in their 1Z own research and studio practice in any media. 2X

2Y

2Z Synchronous & asynchronous work. Arrangements can be made, 3X at the discretion of the faculty, for those students in different time 3Y zones who cannot meet synchro- nously. Individual meetings with 3Z faculty. Students enrolled in this course will be required to have a personal computer and consistent access to the internet. Students will be provided with some materials. Studio spaces may be accessible by appointment. Physical distancing and other COVID-19 safety proto- cols will be required. FALL 2020 20 Tuesday

DIG DRW FLM GRA MTLPAI PER PHT PRT SCP SND VID VMS PHT-0126 BILL BURKE THE FRAME & THE SUBJECT 4 SHU [all levels] This is a low-tech class that will introduce the student to the 9 am - 1 pm 1X visual elements of Photography. Using the students’ cell phones or equivalent, we will investigate the fundamentals of picture 1Y making. We will explore various modes of documentation that 1Z are appropriate to everyone having a camera in their pocket all Synchronous work. the time. Possibilities of observation, surveillance and appropri- Individual meetings with ation will be introduced after the students have become familiar 2X faculty. Students enrolled in this course with their camera and the introductory concepts. The emphasis 2Y will be required to have a personal will be on content and visual approach and to utilizing the poten- computer and consistent access tials of the tool in our hands. 2Z to the internet and to purchase Early in the semester, there will be separate assignments to or source some materials and/ or equipment. Students will be encourage an awareness of light, perspective, and spatial rela- 3X provided with some materials, tionships (drawing). The latter part of the semester we will put some software, and the opportu- the cameras to use recording our personal experience and our 3Y nity to borrow some specialized relationship to the world around us. equipment. 3Z The resource requirements of The class is structured to begin each week with a zoom meet- this course are flexible and we are ing, for instruction and to introduce and view examples of the committed to working together to concept for that week. The afternoon segment of the class will find creative solutions to meet the goals of this course with whatever consist of one on one zoom meetings with the instructor to review resources a student has available. all the work the student has done since the previous meeting. In The terms of resource provision that the course will be online, the students’ presentations, cri- and the exact equipment, soft- tiques and discussions will be online. At the end of the semester ware, and material requirements of the course will be shared with each student will assemble a portfolio of 10 pictures that will be students as the semester nears. printed at a print house or in our digital lab. Resources will be provided by FALL 2020 mail or curbside pickup depend- ing on each student’s location. 21 Tuesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SCP-0101 MAGS HARRIES

4 SHU

OBJECT A WEEK 9 am - 1 pm 1X [all levels] 1Y

1Z

2X

2Y

2Z Object A Week is a multi-disciplinary studio course where objects serve as catalysts for weekly projects in any me- 3X dium to generate new approaches to the process of art making. Each object is chosen for its exploratory range of approach and 3Y Synchronous. Class sessions translation. Students will be sent the objects by mail to facilitate will be recorded for students in 3Z other time zones to access a class remote work. asynchronously. Collectively, through free associations with words, memory Students enrolled in this course and meaning, we will build a databank of ideas that can become will be required to have a personal a resource for future projects. Through researching the object, computer and consistent access to the internet. Students will be students will expand their ideas. Each week each student will provided with some materials. present their project for a class critique synchronously. Resources will be provided by mail The final class is a presentation of all the work for the se- or curbside pickup depending on mester. each student’s location. Open to any level and students working in any media. FALL 2020 22 Tuesday Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS VMS-0148 cross-listed with LAS-0191 & SPN-0091 [all levels] NINA GERASSI-NAVARRO EULOGIO GUZMÁN

3 SHU WHY DO ICONS MATTER? A FOCUS ON LATIN AMERICA 10:30 - 11:45 am Images visualize how we think about the past, the present and future, but how do we read them? Is this different from the ways cultural icons are signified? This class examines the conceptual formation of images, icon- Synchronous & asynchronous ic visual culture and its shaping through social history work. Arrangements can be made, and literary criticism. at the discretion of the faculty, for To unpack the complicated layered meaning of imag- those students in different time zones who cannot meet synchro- es, we explore some of the most notable cultural, politi- nously. With permission, sessions cal, and historical events and figures in Latin America to will be recorded for student gain an understanding of how socio-historical and cul- access. Individual meetings with tural events as well as literature play a determining role faculty. Group project work. Students in this course will be in shaping interpretation. required to have a personal com- Through focused presentations, readings, and discus- puter and consistent access to the sions on specific iconic figures, places and events within internet. The resource require- this cultural sphere the course will explore the lexicology ments of this course are flexible and we are committed to working of images to establish why icons hold no singular mean- together to find creative solutions ing. Among the icons driving discussion are Montezuma, to meet the goals of this course Malinche, Yanga (Emancipated Settlements), Simón Bo- with whatever resources a student livar, Sandino, Che Guevara, Student Protests in Tlatelol- has available. co, Frida Kahlo, Evita, and Maradona. FALL 2020 23 Tuesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS DRW-0013 [all levels]

ETHAN MURROW

INTRO TO DRAWING STUDIO 2 SHU

1X Drawing Studio is an introductory drawing course focusing on the development of skills and techniques. 1Y Because of the current crises our focus will be on ma- terials, methods, exercises and projects that are easily Section 1 11 am - 1 pm 1Z accessible to students. We will have an outward focus on our communities, meaning we will pursue projects 2X that consider Drawing’s role in our current climate and how it can be used to communicate, help and add Section 2 2 pm - 4 pm 2Y to contemporary discourse even in times when we do 2Z not have the same freedom of movement we might be accustomed to. For example, students will build corre- spondence-based drawings and zines to send to others. 3X Synchronous & asynchronous We will build these projects in tandem with our explo- 3Y work. Arrangements can be made, ration of the fundamental approaches to observational at the discretion of the faculty, for 3Z those students in different time drawing such as line, mark making, perspective, space, zones who cannot meet synchro- tonal value, composition, point of view, proportion, and nously. With permission, sessions measurement. Strong composition, clear communica- will be recorded for student tion and exciting design will be emphasized through access. Individual meetings with faculty. Group project work. a combination of focused exercises, projects, demon- Students enrolled in this course strations, critiques, and individual instruction. will be required to have a personal Drawing Studio is ideal for students new to draw- computer and consistent access ing and for those interested in improving their artistic to the internet. Students will be provided with some materials. practice. FALL 2020 24 Tuesday Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS DRW-0114 DAVID ANTONIO CRUZ

Synchronous & asynchronous SHU work. Arrangements can be made, 4 at the discretion of the faculty, for those students in different time zones who cannot meet synchro- REPRESENTATION nously. With permission, sessions 1X will be recorded for student access. Individual meetings with 1Y faculty. AND NARRATIVE Students enrolled in this course 1Z will be required to have a personal This studio course explores the employment of computer and consistent access narrative in observational forms of drawing and/or to the internet and to purchase painting. Topics and readings include historical and 2X or source some materials and/ or equipment. Students will be contemporary texts, graphic novels, animation, 2 pm - 4 pm 2Y provided with some materials. film, and theatre. We will examine the use of char- The resource requirements of this acter, story, arc, structure, and the lack there-of in 2Z course are flexible and we are works of fiction and non-fiction drawing. committed to working together to find creative solutions to meet the A broad range of media and methods will be 3X goals of this course with whatever discussed and used. There will be regular critiques 3Y resources a student has available. and discussions to help support student’s projects. The terms of resource provision 3Z and the exact equipment, soft- ware, and material requirements of the course will be shared with students as the semester nears. Resources will be provided by mail or curbside pickup depending on each student’s location. Studio spaces may be accessible by appointment. Physical distancing and other COVID-19 safety proto- cols will be required. FALL 2020 25 Tuesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS FLM-0172 JOEL FRENZER DIRECTED STUDY: 2 SHU

Synchronous & asynchronous MEDIA ARTS work. Arrangements can be made, at the discretion of the faculty, for Advanced class consisting of regular 1X those students in different time one-on-one remote meetings between film/an- zones who cannot meet synchro- imation/video/sound students and faculty mentor 1Y nously. With permission, sessions to critique work and assess progress. Three group will be recorded for student access. 1Z Individual meetings with faculty. critiques of Work in Progress plus a Final Critique Students enrolled in this course will be conducted remotely. Students must present will be required to have a personal a statement of intent, quantifying expected out- 2X computer and consistent access put, topics of interest, project development or a 2 pm - 4 pm 2Y to the internet and to purchase statement of goals at the first meeting. At the end or source some materials and/ 2Z or equipment. Students will be of the semester, students must summarize work, in provided with some materials the form of an artist’s statement, and give a final and some software. The resource presentation to the class for critique. Faculty per- 3X requirements of this course are mission required. flexible and we are committed to 3Y working together to find creative solutions to meet the goals of this 3Z course with whatever resources a student has available. The terms of resource provision and the exact equipment, software, and material requirements of the course will be shared with students as the semester nears. Resources will be provided by mail or curbside pickup depending on each student’s location. FALL 2020 26 Tuesday

DIG DRW FLM GRA MTLPAI PER PHT PRT SCP SND VID VMS PHT-0135 [all levels] BONNIE DONOHUE Synchronous work. Arrange- ments can be made, at the discretion of the faculty, for those students in different time zones SHU who cannot meet synchronously. WITNESS: ART & ACTION 2 Individual meetings with faculty. Students enrolled in this course Many artists, writers, and activists of our time create works that bear wit- will be required to have a personal computer and consistent access ness to past, present, or impending future conditions that shape our lives. 1X to the internet. Students will be As cultural workers, they attempt to alter those conditions by creating and provided with some software. interrogating meaning for the political, cultural, environmental, and bi- 1Y ographical issues with which they are dynamically involved. The current mo- 1Z ment is one in which nearly everyone is bearing witness to the same events, including a world-wide pandemic, followed by widespread documentation of police brutality aimed at people of color, and unprecedented street demon- 2X strations resisting it, while politicians exploit the unrest in divisive ways. 2 pm - 4 pm 2Y The upcoming American election in Fall 2020 will almost certainly be chaotic. Course participants develop and produce personal work that signifies 2Z their own place and time. Forms of personal and political testimony acknowl- edge the fraught histories of place, race, sexuality, health, and politics, and 3X acknowledge both the dangers and the great potential for change at this mo- ment. Art can be a powerful tool of change. 3Y As social media algorithms, bots, and ideologues wage a fierce political 3Z battle for control of hearts, minds, and personal capital, Witness: Art and Action will explore various layers of reality, including mass surveillance and marketing tools directed at changing how we think, which artists must con- tend with and unpack as they create their work. Non-SMFA students and MAT Art Education students will receive a letter grade. Online classes will include lecture, discussion, and critique. Technical demonstrations will be accessed both asynchronously as tutorials and live as demonstrations.

FALL 2020 27 Tuesday

DIG DRW FLM GRA MTLPAI PER PHT PRT SCP SND VID VMS SMFA-0106

DANIELLE ABRAMS MAYA ERDELYI-PEREZ Working individually and in small groups we will teach puppetry and animation synchro- SHU nously. Some of your individ- 4 ual work will be accomplished asynchronously. Arrangements can be made, at the discretion of 1X the faculty, for those students in different time zones who cannot meet synchronously. 1Y Students enrolled in this course will be required to have a personal 1Z computer and consistent access PERFORMING & ANIMATED OBJECTS to the internet and to purchase [all levels] This hybrid course will explore pup- imators such as Bread and Puppet The- 2X or source some materials and/or petry, performing objects, and animation. ater, William Wegman, Robin Rhodes, and equipment. Students will be pro- pm pm vided with some software and the Through building figures and fantasy ob- Small Works Toy Theater. Found object, cut 2 - 4 2Y opportunity to borrow some spe- jects, and working with experimental an- paper, and junk puppets will be animated cialized equipment. The resource imation, we will rouse the past, interpret using DIY and stop-motion techniques. 2Z requirements of this course are the everyday, and evoke the comical, the Small set-building, lighting, and pixila- flexible and we are committed to 3X working together to find creative absurd, the tragic, the futuristic, and our tion (animating with the human body) will solutions to meet the goals of this own alter-egos. The course will explore also be explored. 6 pm - 8 pm 3Y course with whatever resources a global and historical puppetry practices, The course will include film screen- student has available. The terms of and animation including pre-cinema toys, ings, slideshows, and visits with pup- 3Z resource provision and the exact equipment, software, and material magic lantern slideshows, toy theatres, pet/animation artists. The semester will requirements of the course will dioramas, cantastoria, shadow plays, and culminate with a collaborative puppet be shared with students as the peep shows. Sources of inspiration will in- performance-pageant-play-pandemoni- semester nears. Resources will be clude puppets and masks made in Nigeria um-parade. Live puppet performances and provided by mail or curbside pick- up depending on each student’s and Mali; ancient automatons by Al-Jazari animations will be exhibited on the SMFA location. Studio spaces may be and Leonardo da Vinci; Indonesian shad- web channel. accessible by appointment. Phys- ow puppetry; Bunraku from Japan; and No experience in puppetry or anima- ical distancing and other COVID-19 safety protocols will be required. contemporary puppeteers and object-an- tion necessary. FALL 2020 28 Tuesday

DIG DRW FLM GRA MTLPAI PER PHT PRT SCP SND VID VMS PHT-0149 [intermediate/advanced]

RACHELLE MOZMAN SOLANO Synchronous & asynchronous work. Arrangements can be made, at the discretion of the faculty, for IMAGE, NARRATIVE, those students in different time SHU zones who cannot meet synchro- 4 nously. With permission, sessions & PSYCHOANALYSIS will be recorded for student access. This intermediate to advanced level course, open Our dreams are a direct link to our unconscious, made Individual meetings with faculty. to students of any discipline, will explore the rela- of fragmented images telling non-linear narratives. 1X Students enrolled in this course tionship of image making to storytelling and our How can we come to better understand our uncon- will be required to have a personal 1Y computer and consistent access unconscious mind. The course will focus on in class scious mind, to make more unique stories with a to the internet. Students will be image making exercises, free association, and week- personal voice? In this course parallels between the 1Z provided with some materials. ly readings, and the creation of a final project. The narratives we create in our art to the messages in our The resource requirements of this unconscious, as understood Psychoanalysis, hous- dreams, internalized memories and experiences will course are flexible and we are es memories, and feelings that are hidden from our be explored. We will meet synchronously each week 2 pm - 6 pm 2X committed to working together to conscious, yet art making can reveal this knowledge. for two hours. Other class work will be asynchronous. find creative solutions to meet the 2Y goals of this course with whatever resources a student has available. 2Z The terms of resource provision and the exact equipment, software, and material requirements of the 3X course will be shared with students as the semester nears. 3Y 3Z

FALL 2020 29 Tuesday Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PRT-0162 [all levels]

CAROLYN MUSKAT MICHELLE SAMOUR Synchronous & asynchronous PETER SCOTT meetings. Arrangements can be SHU made, at the discretion of the 4 faculty, for those students in different time zones who cannot meet synchronously. With permis- sion, sessions will be recorded for PRINT & PAPER: 1X student access. Individual meetings with faculty. 1Y Group project work. HOME STRATEGIES Students enrolled in this course 1Z will be required to have a personal computer and consistent access to the internet and to purchase This course will provide intensive instruction and proj- 2X or source some materials and/ ect workshops on a wide range of print processes, from or equipment. Students will be 2Y provided with some materials. stencil and relief to planographic techniques, in addi- The resource requirements of this tion to papermaking production as an integral part of the 2Z course are flexible and we are printed image. The keystone element of the curriculum committed to working together to find creative solutions to meet the will deal with student’s home studio set-up: their work- 3X goals of this course with whatever space, equipment, and its design for ease and efficien- resources a student has available. cy of use. Students in the class will be rotated through a 6 pm - 8 pm 3Y The terms of resource provision series of print/paper projects as they familiarize them- and the exact equipment, soft- 3Z ware, and material requirements selves with the various techniques. This class will provide of the course will be shared with indispensable strategies for establishing a home studio, students as the semester nears. both small and large, as the student’s art practice requires Resources will be provided by mail workspace independent of the school facilities. Critiques or curbside pickup depending on each student’s location. and demonstrations will happen online while consultation Studio spaces may be accessible and process coaching will be addressed individually or in by appointment. Physical distanc- small groups. ing and other COVID-19 safety protocols will be required.

FALL 2020 30 Wednesday

32 SMFA-0102 Print Now 9-11, 2-4 33 PHT-0112 Digital Photo: History & Practice 9-11, 2-4 34 SMFA-0103 Draw & Print: Walls to Halls 9-1 35 SMFA-0111 Body as Site 9-1 36 PRT-0163 Papermaking: Test Kitchen 9-1 37 PAI-0193 Painting Directed Study 11-1 38 PHT-0110 Photography After the Internet 11-1 39 DRW-0051 Intro to Figure Drawing 11-1 40 SND-0182 A History of Sonic Art 11-1 41 DRW-0193 Drawing Directed Study 2-4 42 SCP-0107 Narrative Projects 2-6 43 SMFA-0104 Video Art & Sound: A Reckoning 2-6 44 PAI-0019 Intro to Abstraction: Flatlands 6-8 45 SMFA-0110 Sound & Moving Image 6-8 46 PAI-0019 Beginning Painting 6-8

FALL 2020 31 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0102 PRINT NOW 4 SHU JENNIFER SCHMIDT 1X Synchronous & asynchronous meetings. Arrangements can be 9 am - 11 am 1Y made, at the discretion of the faculty, for those students in dif- 1Z ferent time zones who cannot meet synchronously. With permission, sessions will be recorded for stu- 2X dent access. Individual meetings with faculty. Group project work. Print Now is a timely course about the use of graph- We will explore ideas of poetry, performance, sculpture 2 pm - 4 pm 2Y Students enrolled in this course ics and print as a vehicle for communicating and ex- and print through the making of ephemeral objects that will be required to have a personal pressing ideas and opinions involving socio-political utilize text and image to enact a response. Students 2Z computer and consistent access movements, protests, and events. We will focus on will make their work by combining writing, drawing, to the internet and to purchase or source some materials and/ the role of posters, t-shirts, and banners, and how and stencil making techniques with materials such as: 3X or equipment. Students will be they are re-presented in print, with particular atten- found fabric, found clothing, found cardboard, paper, provided with some materials tion to hand-made typography, DIY, and individual/ markers, packing tape, spray dye, and spray paint. We 3Y and some software. The resource collective voice. Students will be encouraged to think will then print a newspaper publication featuring pho- 3Z requirements of this course are flexible and we are committed to about and respond to current events through writing, to/digital reproductions of the projects students make working together to find creative images, props, and performance. We will use prompts throughout the semester. Weekly meetings will include solutions to meet the goals of this to write in real time during class, as well as, to gener- creative writing; presentations; visiting artists/writ- course with whatever resources a ate material and develop concepts for individual proj- ers/activists/historians/printers; and group discussion student has available. The terms of resource provision and the exact ects. Presentations will be given about the history of of readings and current events. Students will work in- equipment, software, and material print media, involving: news, literature, advertising, dividually, and in small groups on collective projects, requirements of the course will politics, and fashion, while thinking about publishing, and will be expected to do daily research by reading be shared with students as the semester nears accessibility, social media, and independent presses. online newspapers, magazines, and social media.

FALL 2020 32 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PHT-0112 [all levels]

Synchronous & asynchronous work. Arrangements can be made, at the discretion of the faculty, for 4 SHU those students in different time RACHELLE MOZMAN-SOLANO zones who cannot meet synchro- nously. With permission, sessions will be recorded for student DIGITAL PHOTO: 1X access. Individual meetings with faculty. 9 am - 11 am Students enrolled in this course 1Y will be required to have a personal HISTORY & PRACTICE computer and consistent access to 1Z the internet. Students will be required to 2X purchase or source some materials and/or equipment. Other materials 2 pm - 4 pm 2Y will be provided. The resource This class will introduce students to the funda- In addition to covering these technical topics, requirements of this course are mental principles of digital photography through we will address aesthetic issues such as composi- 2Z flexible and we are committed to its relationship to the history of photography, tion and quality of light. There will be lectures on working together to find creative solutions to meet the goals of this early image capturing techniques, and the evolv- historical and contemporary artwork that explore 3X course with whatever resources a ing technology that has led to where we are today. the creative approaches and considerations of pho- student has available. The terms of The course will range between experiments with tography. There will also be assignments designed 3Y resource provision and the exact pinhole cameras to demonstrations and hands-on to build skills and aesthetic decisions when photo- 3Z equipment, software, and material sessions, where students will learn the basics of graphing as well as a midterm project. requirements of the course will be shared with students as the using their Digital SLR camera including camera op- As a culmination to the class, students will pres- semester nears. Resources will be eration, shutter speed, aperture, focal length, RAW ent a final presentation. At the end of this class, you provided by mail or curbside pick- file formatting, and white balance. Using Adobe can expect to know how to create a properly exposed up depending on each student’s Photoshop we will come to know file management file in camera, how to adjust the tonality of that file location. techniques, editing, image enhancement, and basic in Photoshop and as well as the development and Studio spaces may be accessible by appointment. Physical distanc- retouching. understanding of yourself as an image maker. In- ing and other COVID-19 safety troductory course open to all levels. protocols will be required. FALL 2020 33 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0103 CHARLES GOSS RHODA ROSENBERG

Synchronous & asynchronous meetings. Arrangements can be made, at the discretion of the faculty, for those students in dif- SHU ferent time zones who cannot meet DRAW & PRINT: 4 synchronously. With permission, sessions will be recorded for stu- dent access. Individual meetings 9 am - 1 pm with faculty. Group project work. WALLS TO HALLS 1X Students enrolled in this course [all levels] will be required to have a personal 1Y computer and consistent access to the internet and to purchase Draw & Print: Walls to Halls is all about experimentation 1Z or source some materials and/ and transformation; opening new ways to think about what a or equipment. Students will be drawing is and learning how drawing and printmaking share an provided with some materials, 2X some software, and the oppor- amazing conversation. This team-taught course will introduce tunity to borrow some special- students to a new and exciting way of combining drawing with 2Y ized equipment. The resource printmaking and beyond. requirements of this course are As an on-line course, students will be given a series of 2Z flexible and we are committed to working together to find creative provocative drawing projects. These projects range from sim- solutions to meet the goals of this ple line, shape and color studies to personal/public, identity 3X course with whatever resources a and conceptual ideas. We will encourage students to use any 3Y student has available. The terms of kinds of mark making tools they can find, both traditional and resource provision and the exact 3Z equipment, software, and material non-traditional. As these drawings evolve, we will investigate requirements of the course will a number of techniques in printmaking to transform them into be shared with students as the various forms of print: monoprints, relief prints, collagraphs, semester nears. Resources will be digital prints and image transfer methods. Students will be provided by mail or curbside pick- up depending on each student’s able to draw, paint, collage and print where they live. location. Faculty presentations and discussions will give students Studio spaces may be accessible access to a broad range of material, conceptual and contextual by appointment. Physical distanc- considerations. Group critiques and individual consultations ing and other COVID-19 safety protocols will be required. will give students regular feedback on their ongoing work. FALL 2020 34 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS

BETSY REDELMAN DIAZ KENDALL REISS

SMFA-0111 4 SHU [all levels] BODY AS SITE

Body as Site considers how the body functions as a location 9 am - 1 pm 1X Synchronous meetings will occur from 10am-12pm. Asynchro- for the circulation of power, identity and resistance. Using the nous sessions will include small body as an initial point of reference and response, this course 1Y group meetings for collaborative invites students to view their own bodies as both material and 1Z work and peer-to-peer feedback a site for performance and art making. Students will be invited as well as one-on-one meetings with professors. Arrangements to use accessible, upcycled and unexpected materials as they can be made, at the discretion of explore historical, contemporary and political movements. This 2X the faculty, for those students in studio/seminar course includes active discussions, physical re- different time zones who cannot 2Y meet synchronously. sponse, reflective practice, and engagement with various read- Students enrolled in this course ings and digital content. Attendance at artist lectures, collab- 2Z will be required to have a personal orative cohort building, historical, contemporary and corporeal computer and consistent access research, in addition to engaging a “studio based” practice is 3X to the internet and to purchase expected. Drawing from their respective backgrounds in met- or source some materials and/ 3Y or equipment. Students will be als, ceramics, sculpture, geology, gender studies, and anthro- provided with the opportunity to pology, the faculty will cover issues related to body politics, 3Z borrow some specialized equip- body modification, and the intersection of race, sex, gender, ment. The resource requirements of this course are flexible and we queerness, class, and ability. Students are invited to integrate are committed to working together their lived experiences and studio practices, as they respond to find creative solutions to meet to course content in mediums of their choice. Lectures, discus- the goals of this course with sions, readings and digital content will introduce artists such whatever resources a student has available. Studio spaces may be as: Janine Antoni, Lakela Brown, Cassils, Sonya Clark, Kim Dick- accessible by appointment. Phys- ey, Susie Ganch, Liz Glynn, Lauren Kalman, Ruudt Peters, Keri- ical distancing and other COVID-19 anne Quick, Gerd Rothmann, Carolee Schneemann, Sonya Renee safety protocols will be required. Taylor, and Rachel Whiteread. FALL 2020 35 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PRT-0163 [all levels]

MICHELLE SAMOUR

PAPERMAKING: 4 SHU Synchronous & asynchronous meetings. Arrangements can be 9 am - 1 pm made, at the discretion of the TEST KITCHEN 1X faculty, for those students in different time zones who cannot 1Y meet synchronously. With permis- The Kitchen (and garden depending upon student others) will be an important component of the class. sion, sessions will be recorded for 1Z student access. access) will be the source material for experiments Students will have a greater appreciation of the foods Individual meetings with faculty. with papermaking and natural dyes. Students will be and materials they consume and use, their harvest and Group project work. encouraged to take stock of what is in their kitchens distribution, and their ecological impact and viability 2X Students enrolled in this course that can be used to make paper, embed in paper, and as source materials for making paper. will be required to have a personal 2Y computer and consistent access create natural dyes. This will include compost paper Additionally, students will learn about the history to the internet and to purchase and vegetable papyrus from thinly cut and pressed of both Eastern and Western papermaking, and how the 2Z or source some materials and/ fruits and vegetables, spice papers, paper waste hand- materials/plants indigenous to each climate dictate the or equipment. Students will be made paper, etc. Students will fill out lab sheets to kind of paper that is made. Guest speakers will include provided with some materials. 3X The resource requirements of this record their experiments with materials and process- SMFA/Tufts faculty Colin Orians (Biology and Head of course are flexible and we are es, make a cloth-covered portfolio to hold their paper Environmental Studies) who will speak about his work 3Y committed to working together to samples and notes, and create photo samples of their with coffee in Costa Rica, Silvia Bottinelli (VMS) who 3Z find creative solutions to meet the papers using their cell phones. will speak about the Arte Povera movement, Jesse- goals of this course with whatever resources a student has available. Readings about ecology, food and farming justice, ca Ferguson who will share her work with Anthotypes The terms of resource provision early environmentalists and naturalists (Humboldt, (plant-based photographs), as well as several artists and the exact equipment, soft- Marsh, Pinchot, George Washington Carver, John Muir, who work with handmade paper as their primary mate- ware, and material requirements Anna Atkins, etc.) and contemporary artists whose rial and address issues of sustainability and ecology. of the course will be shared with students as the semester nears. work focuses on sustainability and reclaiming materi- Critiques and demonstrations will happen online Resources will be provided by mail als (Leonardo Drew, Aurora Robson, El Anatsui, Piero while consultation and process coaching will be ad- or curbside pickup depending on Gilardi, Tara Donovan, Kwang-Young Chun, the Arte Po- dressed individually or in small groups. each student’s location. vera movement, Anslem Kiefer, Mark Bradford, among FALL 2020 36 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PAI-0193 [advanced]

ANGELINA GUALDONI

PAINTING DIRECTED STUDY 2 SHU Students meet individually with a faculty member several times over the course of the semester to cri- 1X tique work, assess progress, and develop mentorship 1Y between individual faculty and students. Individual critique sessions promote and foster abundant work 11 am - 1 pm 1Z and rapid progress by helping students deepen their Synchronous & asynchronous understanding of their artwork, creative process, and work. Arrangements can be made, 2X at the discretion of the faculty, for work method through focused critical feedback at reg- those students in different time ular intervals. 2Y zones who cannot meet synchro- The student is asked to present a statement of in- nously. Individual meetings with tent, quantifying expected output, topics of interest or 2Z faculty. Students enrolled in this course a statement of goals at the first meeting. At the end of will be required to have a personal the semester s/he will summarize the work; this could 3X computer and consistent access also be in the form of developing an artist’s statement. 3Y to the internet and to purchase Faculty will meet each student four or more times a se- or source some materials and/or 3Z equipment. The resource require- mester for a full hour. ments of this course are flexible There may also be group meetings with peers to and we are committed to working discuss work and progress among fellow students. together to find creative solutions Group meetings will assist students in developing in- to meet the goals of this course with whatever resources a student valuable skills for responding and giving feedback to has available. Studio spaces may one another regarding the work of fellow students. Can be accessible by appointment. be repeated once. Physical distancing and other Recommended: junior, senior, post-bac, or gradu- COVID-19 safety protocols will be required. ate standing. Faculty permission required.

FALL 2020 37 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PHT-0110 [all levels]

LAURA BETH REESE

PHOTOGRAPHY 2 SHU

Synchronous & asynchronous work. Arrangements can be made, AFTER THE at the discretion of the faculty, for 1X those students in different time zones who cannot meet synchro- 1Y nously. With permission, sessions INTERNET 11 am - 1 pm will be recorded for student 1Z access. In this course, students will explore the ways Individual meetings with faculty. in which the internet informs and acts as a catalyst for 2X Group project work. a new, and interesting photographic practice. Using cell Students enrolled in this course phone cameras, found images, image editing softwares, 2Y will be required to have a personal and online platforms, students will complete a series of computer and consistent access 2Z to the internet. Students will be photographic assignments that address ideas of appropri- provided with some software. The ation, surveillance, and online performance of self. Addi- resource requirements of this tionally, this course will unpack how photographs function 3X course are flexible and we are in the age of the internet through a careful analysis of the 3Y committed to working together to “post-internet” practices of artists like Hito Steyerl, Ama- find creative solutions to meet the goals of this course with whatever lia Ulman, and Lil Miquela. The semester will culminate in 3Z resources a student has available. a final project of the students’ choosing that builds upon The terms of resource provision the content of the course. This course is open to students and the exact equipment, soft- of all levels. No prerequisites or previous photography ex- ware, and material requirements perience required. of the course will be shared with students as the semester nears. Studio spaces may be accessible by appointment. Physical distanc- ing and other COVID-19 safety protocols will be required. FALL 2020 38 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS DRW-0051 [all levels]

MARA METCALF

Synchronous & asynchronous SHU work. Arrangements can be made, 2 at the discretion of the faculty, for those students in different time zones who cannot meet synchro- 1X nously. With permission, sessions will be recorded for student access. Individual meetings with 1Y faculty. 11 am - 1 pm Students enrolled in this course INTRO TO FIGURE DRAWING 1Z will be required to have a personal computer and consistent access Intro to Figure Drawing provides students an to the internet and to purchase 2X or source some materials and/ introduction to the essentials for drawing the hu- or equipment. Students will be man form. Proportion, scale, shading, composition, 2Y provided with some materials. and mark making will be covered, as well as histor- The resource requirements of this ical and contemporary approaches. Coursework will 2Z course are flexible and we are committed to working together to include demonstrations, presentations, exercises 3X find creative solutions to meet the and assignments. goals of this course with whatever 3Y resources a student has available. The terms of resource provision 3Z and the exact equipment, soft- ware, and material requirements of the course will be shared with students as the semester nears. Resources will be provided by mail or curbside pickup depending on each student’s location. Studio spaces may be accessible by appointment. Physical distanc- ing and other COVID-19 safety protocols will be required. FALL 2020 39 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SND-0182 NATE HARRISON

Synchronous & asynchronous work. Arrangements can be made, A HISTORY SHU at the discretion of the faculty, for 2 those students in different time zones who cannot meet synchro- OF SONIC ART nously. With permission, sessions will be recorded for student access. 1X Individual meetings with faculty. Students enrolled in this course 1Y will be required to have a personal 11 am - 1 pm computer and consistent access A History of Sonic Art examines the historical, the- 1Z to the internet. Students will be oretical and aesthetic bases of sound, noise and music provided with some materials. in modernity. The course will take as its point of depar- 2X The resource requirements of this ture the development of mechanical media following the course are flexible and we are stages of industrialization in the early twentieth centu- 2Y committed to working together to find creative solutions to meet the ry. Roughly chronological, the course will trace the early 2Z goals of this course with whatever European Avant-Garde through to post-war experimen- resources a student has available. tation, and then onto postmodern sampling, laptop cul- ture, and the acceptance and expansion of “sound art” 3X within the institution of art. While following a timeline, 3Y topics, issues and theories presented will nonetheless often be transhistorical and interdisciplinary, address- 3Z ing concerns that have persisted within the production of culture since the fundamental change to it through the development of recording technologies. Parts mu- sic history, sociology and aesthetic theory, History of Sonic Art will provide students the historical context and conceptual framework from which to articulate their own practices. Regardless of whether or not a student works with sound, it will be a very thought-provoking class.

FALL 2020 40 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS DRW-0193 [advanced]

CHARLES GOSS

DRAWING DIRECTED STUDY 2 SHU This on-line class consists of one on one and group meetings in which students will meet individually with a faculty member on scheduled times over the course of the 1X Synchronous & asynchronous semester to critique work, assess progress, and develop work. Arrangements can be made, mentorship between faculty and the student. 1Y at the discretion of the faculty, for Individual critique sessions promote and foster abun- those students in different time 1Z zones who cannot meet synchro- dant work and rapid progress by helping students deepen nously. With permission, sessions their understanding of their creative process and work will be recorded for student methods through focused critical feedback at regular in- 2X access. Individual meetings with tervals. There will be 4 to 6 private meetings each semes- faculty. 2 pm - 4 pm 2Y Students enrolled in this course ter-1 hour long-and 3 group meetings scheduled to discuss will be required to have a personal work and share your progress. Prior to our 1st meeting the 2Z computer and consistent access student is asked to present a statement of intent, quanti- to the internet and to purchase or source some materials and/ fying expected output, topics of interest and goals. At the 3X or equipment. Students will be end of the semester students will summarize their work 3Y provided with some materials via an all class critique which will include a developed art- and the opportunity to borrow ists statement. Directed Study is for upper classmen and 3Z some specialized equipment. The resource requirements of this advanced students (MFA, Post-Baccalaureate, Diploma or course are flexible and we are Third and Fourth year BFA Students). Faculty permission committed to working together to required. find creative solutions to meet the goals of this course with whatever resources a student has available. Studio spaces may be accessible by appointment. Physical distanc- ing and other COVID-19 safety protocols will be required. FALL 2020 41 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SCP-0107 [all levels]

MICHAEL BARSANTI

4 SHU

NARRATIVE 1X Synchronous. Synchronous 1Y sessions will be recorded for student access. PROJECTS 1Z Asynchronous. Arrangements can be made, at the discretion of pm pm the faculty, for those students in 2 - 6 2X different time zones who cannot History is brimming with storytelling from 2Y meet synchronously. cave painting to entirely new virtual realities. Individual meetings with faculty. 2Z Students enrolled in this course This multimedia studio course will use whatever will be required to have a personal materials can be found, purchased or manufac- computer and consistent access tured to illustrate these narratives. Using com- 3X to the internet and to purchase mon tools for documenting, creating and sharing or source some materials and/ these narratives, students will create tableaus, 3Y or equipment. The resource requirements of this course are dioramas, or even claymation to tell their stories. 3Z flexible and we are committed to We will utilize our realizations to develop themes working together to find creative and narratives into self-directed projects. solutions to meet the goals of this course with whatever resources a student has available. The terms of resource provision and the exact equipment, software, and material requirements of the course will be shared with students as the semester nears. FALL 2020 42 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0104 [all levels]

JANE GILLOOLY ANDREW HLYNSKY 4 SHU VIDEO ART & SOUND: 1X

1Y Synchronous & asynchronous A RECKONING work. Arrangements can be made, 1Z at the discretion of the faculty, for those students in different time zones who cannot meet synchro- 2 pm - 6 pm 2X nously. Individual meetings with “A Reckoning” for the purposes of this class, can in video and sound art practices through screenings, faculty. be interpreted broadly as an action or response to the readings, and discussions. Students will be expect- 2Y Students enrolled in this course world around us. Working in the media arts of sound ed to explore a range of possibilities for audio/visual 2Z will be required to have a personal and video, this introductory studio course will intro- production by responding to prompts and assignments computer and consistent access duce the essential skills to become a technically pro- in sound, video, and the combination, throughout to the internet. Students will be 3X provided with some software and ficient and thinking sound and video maker. Creatively the semester. The class will introduce skills including the opportunity to borrow some responding, observing and documenting while faced sound field recording, tracking, editing, sound for pic- 3Y specialized equipment. The terms with the obstructions in our lives and adapting to them. ture, mixing and mastering and the equivalent in mov- of resource provision and the exact Students will gain the vocabulary and experience nec- ing image recording, manipulation, sequencing, and 3Z equipment, software, and material requirements of the course will essary to intentionally describe, troubleshoot, and multi-tracking. During each week students will partici- be shared with students as the manipulate sounds and moving images. Students will pate in approximately 2.5 – 3 hours of synchronous and semester nears. Resources will learn the underlying principles that govern sound and asynchronous learning, such as technical instruction be provided by mail or curbside will experiment with the recording and creation of dig- to introduce skills through both live and pre-recorded pickup depending on each student’s ital video to develop a deeper understanding of how demonstrations, presentations and discussions of con- location. Studio spaces may be accessible by appointment. Physi- sound and moving images are captured, represent- cepts, listening sessions and screenings, or critique. cal distancing and other COVID-19 ed and manipulated. While this is not a genre-based Individual meetings with faculty will be scheduled as safety protocols will be required. course, we will survey and analyze a variety of trends needed throughout the semester. FALL 2020 43 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PAI-0019 [all levels]

KARMIMADEEBORA MCMILLAN

INTRO TO ABSTRACTION 2 SHU Introductory studio course examines design principles as applied to abstract artworks. Weekly as- Synchronous & asynchronous FLATLANDS signments address strategies for generating non-ob- 1X work. Arrangements can be made, jective imagery using water-based media and collage, at the discretion of the faculty, for those students in different time culminating in a body of work on paper or canvas. Proj- 1Y zones who cannot meet synchro- ects emphasize brainstorming multiple answers to visual nously. With permission, sessions problems over selecting the first solution that comes to 1Z will be recorded for student mind. Students will learn to “speak graphically,” utilizing access. Individual meetings with faculty. shape, line, color, arrangement, or scale, to inform their 2X Students enrolled in this course decisions as they move further into painting, printmaking, will be required to have a personal or drawing. Serves as an excellent entry point into consid- 2Y computer and consistent access ering meaning and form in contemporary abstraction. This to the internet and to purchase 2Z or source some materials and/ course will focus on acquisition of basic 2d skills (color, or equipment. The resource line, shape, tone, etc.) that serve as a basis for making/ 3X requirements of this course are designing images across multiple media. While this class flexible and we are committed to 6 pm - 8 pm 3Y working together to find creative is housed in the painting area, techniques and principles are applicable to advanced drawing, printmaking, and col- solutions to meet the goals of this 3Z course with whatever resources a lage strategies. student has available. The terms of Media used will include charcoal, diverse collage ma- resource provision and the exact equipment, software, and material terial, pigment, and acrylic paint. While the principles requirements of the course will introduced carry into multiple media, most of the exam- be shared with students as the ples that we will examine will be abstract – in the broadest semester nears. Studio spaces may sense of the word, including Western and Non-Western be accessible by appointment. Physical distancing and other paintings, textiles, ceramics, drawings, etc. As such, this COVID-19 safety protocols will be class serves as an excellent entry point into considering required. meaning and form in contemporary abstraction. FALL 2020 44 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0110

Synchronous & asynchronous SOUND & MOVING IMAGE 2 SHU work. Arrangements can be made, at the discretion of the faculty, for KURT RALSKE those students in different time zones who cannot meet synchro- 1X nously. With permission, sessions will be recorded for student access. 1Y Individual meetings with faculty. Students enrolled in this course 1Z will be required to have a personal computer and consistent access to the internet. Students will be pro- 2X vided with some materials, some When combined, sound and image influence editing software, dynamics control, equalization, software, and the opportunity to each other in subtle and complex ways. This course noise reduction, workflow, mixing, and mastering. 2Y borrow some specialized equip- provides students with the practical and conceptual Small and large assignments will give students the ment. The resource requirements of 2Z this course are flexible and we are skills to creatively use sound (voice, sound effects, opportunity to explore the strategies studied in the committed to working together to sound design, music) with film and video. We will examples and to practice practical skills. The tech- 3X find creative solutions to meet the study examples of sound/image pairings taken from niques and concepts covered in the class will be goals of this course with whatever the canon of cinema, and analyze how they were drawn from cinema, but are equally applicable to 6 pm - 8 pm 3Y resources a student has available. constructed technically and how they function aes- projects executed as video, installation, and image- The terms of resource provision 3Z and the exact equipment, software, thetically. In addition to the conventional strategies for-sound. The goal of the course is for students to and material requirements of the used in narrative films of the past and present, spe- develop an expanded concept of the possibilities for course will be shared with students cial focus will be given to the radical experiments sound and image, a more personal vision of how to as the semester nears. Resources of Jean-Luc Godard, David Lynch, Orson Welles, Toru utilize sound and image in their work, and the tech- will be provided by mail or curbside pickup depending on each student’s Takemitsu, Christian Marclay, Ryan Trecartin, Can- nical skills to achieve their vision. location. Studio spaces may be dice Breitz, and others. Practical audio techniques accessible by appointment. Physi- covered will include: digital audio recording de- cal distancing and other COVID-19 vices, microphone selection and placement, audio safety protocols will be required.

FALL 2020 45 Wednesday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PAI-0021 [all levels]

RIA BRODELL

2 SHU Synchronous & asynchronous work. Arrangements can be made, at the discretion of the faculty, for those students in different time 1X zones who cannot meet synchro- BEGINNING nously. With permission, sessions 1Y will be recorded for student access. Individual meetings with 1Z faculty. PAINTING Students enrolled in this course will be required to have a personal 2X computer and consistent access Students interested in studying painting through di- to the internet and to purchase rect observation are welcome in this course. The focus is 2Y or source some materials and/ or equipment. Students will be to develop core skills in observational painting. Lectures 2Z provided with some materials, will include an introduction to relevant art historical and some software, and the oppor- contemporary dialogue. Demonstrations will provide tunity to borrow some special- 3X ized equipment. The resource practical information on a variety of materials and tech- requirements of this course are niques. Students will work on various surfaces with oil 6 pm - 8 pm 3Y flexible and we are committed to paint and some water-based media. Exercises will intro- 3Z working together to find creative duce the fundamentals of painting, including topics such solutions to meet the goals of this course with whatever resources a as contrast, value, perspective, color and color theory, student has available. The terms of composition and the techniques necessary to develop resource provision and the exact strong painting skills. This is an introductory course open equipment, software, and material to all levels. requirements of the course will be shared with students as the semester nears. Resources will be provided by mail or curbside pick- up depending on each student’s location. FALL 2020 46 Thursday

48 DIG-102 The Art of the Fake 9-1 49 SCP-0145 Weaving: Concept & Construction 9-1 50 PAI-0003 Intro to Oil Painting: Thing-Power 9-1 51 FLM-0114 The Naturalist Animator 9-11, 2-4 52 VMS-0091 Shaping Modernity 10-11 53 VMS-0148 Why Do Icons Matter? 10:30-11:45 54 PAI-0131 Advanced Painting 11-1 55 SMFA-0175 The Dynamic Printed Image 11-1 56 SMFA-0113 Webcrawlers: Artist’s Pub. Based on Web Sourcing 11-1, 2-4 57 DRW-0114 Representation and Narrative 2-4 58 SCP-0172 Directed Study 2-4 59 VID-0110 Video Installation 2-6 60 SMFA-0107 Performance as Sculpture/Sculpture as Performance 2-6 61 PRT-0162 Print & Paper: Home Strategies 6-8

FALL 2020 47 Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS DIG-0102 [all levels]

SHU KURT RALSKE 4 Synchronous & asynchronous work. Arrangements can be made, at the discretion of the faculty, for 9 am - 1 pm 1X those students in different time THE ART OF THE FAKE zones who cannot meet synchro- This hybrid studio/seminar course explores “the fake” 1Y nously. With permission, sessions as an artistic strategy and a cultural phenomenon. Stu- will be recorded for student access. Individual meetings with dents learn 3D software (Cinema 4D, Photoshop) to create 1Z faculty. images and videos that appear convincingly photo-realis- Students enrolled in this course tic, but have no correspondence to reality. will be required to have a personal 2X computer and consistent access We survey artists whose work involves forgery, false to the internet. Students will be identity, sham narrative, artificial drama, pranks, white 2Y provided with some materials, lies. The relationship between images and beliefs is ex- some software, and the oppor- plored through seminar discussion of philosophical texts 2Z tunity to borrow some special- ized equipment. The resource (Latour, Lacan, Flusser, Sontag). We consider “the fake” requirements of this course are in both its negative dimensions (political manipulation) 3X flexible and we are committed to and positive (the generative power of imagination). 3Y working together to find creative solutions to meet the goals of this 3Z course with whatever resources a student has available. The terms of resource provision and the exact equipment, software, and material requirements of the course will be shared with students as the semester nears. Studio spaces may be accessible by appointment. Physical distanc- ing and other COVID-19 safety protocols will be required. FALL 2020 48 Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SCP-0145 [all levels]

SAMANTHA FIELDS

WEAVING: CONCEPT & CONSTRUCTION 4 SHU

9 am - 1 pm 1X

1Y This studio/seminar will look at ‘over and un- We will meet synchronously 1Z (arrangements can be made, for der’ as a means of structure and as a conceptual lens, those students in different time exploring weaving as object, writing, record keeping, zones who cannot meet synchro- technology and intervention. We will consider the long 2X nously), and work asynchronously history of woven objects alongside contemporary artists, through individual meetings with designers and crafts people, working out what this medi- 2Y faculty and group project work. Students enrolled in this course um offers us today as makers and thinkers. 2Z will be required to have a personal We will build a virtual, collective, interactive weaving computer and consistent access of information bringing together: histories, mythologies, 3X to the internet and to purchase economics, science, environmental impact, technology, or source some materials and/or and identity politics to help us understand the complicat- 3Y equipment. The resource require- ed and intimate role cloth has and continues to play in hu- ments of this course are flexible 3Z and we are committed to working man existence. Working on found looms, frame looms and together to find creative solutions backstrap looms we will use traditional and non-tradition- to meet the goals of this course al weaving materials and practices to develop a corporal with whatever resources a student knowledge of the techniques. All of these looms and prac- has available. tices have been happening for 20,000 years in domestic spaces and can happen in your bedroom or backyard. This course is focused on using and creating wide and varied forms of research and hands on knowledge, no prior skills in either are necessary. FALL 2020 49 Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PAI-0003 [all levels]

ANGELINA GUALDONI

Synchronous +& asynchronousasynchronous INTRO TO OIL PAINTING work. Arrangements can be made, work. Arrangements can be made, 4 SHU at the discretion ofof thethe faculty,faculty, for THING-POWER forthose those students students in different in different time zonestime zones who cannot who cannot meet meetsynchro - The primary purpose of this course is composition, color, line, perspective, and synchronously. With permission, nously. With permission, sessions to provide students with the basic techni- substance. Later in the semester we will 9 am - 1 pm willsessions be recorded will be recordedfor student for access. 1X studentIndividual access. meetings with faculty. cal and material knowledge necessary to branch into tableau (staged) paintings, StudentsIndividual enrolled meetings in withthis course render the world around them in oil paint. working through exchanges with students 1Y willfaculty. be required to have a personal But, because we will be painting objects, in Performing and Animating Objects computerStudents and enrolled consistent in this access course to we will also seek to use this course as an through an image or object exchange. 1Z will be required to have a personal the internet. opportunity to understand and amplify the While the primary focus of this course will computerStudents and will consistent be required access to 2X purchaseto the internet or source and someto purchase materials world around us through careful consider- be the depiction of objects and spaces in or source some materials and/ and/or equipment. Other materials ation of thing power: “the curious ability an observational mode, informed creative or equipment. Students will be 2Y will be provided. The resource of inanimate things to animate, to act, to interpretation is encouraged. Ultimately provided with some materials. requirements of this course are The resource requirements of this produce effects dramatic and subtle.” this course will give you the ability to de- 2Z courseflexible are and flexible we are committedand we are to (Bennet). scribe the visual world in multiple modes committedworking together to working to find together creative to When we speak of “Thing-Power” we and provide the grounding necessary to solutions to meet the goals of this 3X find creative solutions to meet the are speaking both of the objects we se- take more advanced painting courses. goalscourse of with this whatever course with resources whatever a resourcesstudent has a studentavailable. has The available. terms of lect, and of the power of the paintings we The course will include demonstra- 3Y Theresource terms provision of resource and provision the exact strive to make. We will approach still life tions of materials and techniques, slide 3Z andequipment, the exact software, equipment, and materialsoft- painting with the idea that certain objects presentations, discussions, assignments, ware,requirements and material of the requirements course will have a vibrancy and agency on our affec- work periods, group and individual cri- ofbe theshared course with will students be shared as the with studentssemester asnears. the semesterResources nears. will tive and physical environment, which can tiques. The majority of our time will be beResources provided will by bemail provided or curbside by inspire and inform how we translate their spent in a studio/work mode. Because this pickupmail or dependingcurbside pickup on each depend student’s- image in oil paint. Using resonant found course is grounded in representation, it is location.ing on each student’s location. objects as models, we will begin to “push recommended that students have taken a Studio spaces may bebe accessibleacces- paint,” in an observational mode introduc- life drawing class or its equivalent in high bysible appointment. by appointment. Physical Physical distanc - ingdistancing and other and COVID-19 other COVID-19 safety ing practical information about the funda- school or at SMFA before, or concurrent protocolssafety protocols will be willrequired. be required. mentals of oil painting: shape, tone, edge, with Introduction to Oil Painting. FALL 2020 50 Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS FLM-0114 JOEL FRENZER

Synchronous +& asynchronousasynchronous work. Arrangements cancan bebe made,made, SHU at the discretion ofof thethe faculty,faculty, for THE NATURALIST 4 thosefor those students students in different in different time time zones who cannot meet zones who cannot meet synchro- Theme: Documenting your “environment” nously.synchronously. With permission, With permission, sessions sessions will be recorded for stu- ANIMATOR through animation. This class will examine the work of 1X will be recorded for student access. dentIndividual access. meetingsIndividual with meetings faculty. [all levels] naturalists and artists throughout history and how close 9 am - 11 am withStudents faculty. enrolled Group project in this coursework. observation of the natural world motivated new discoveries 1Y willStudents be required will beto providedhave a personal with some software and the opportu- and “ways of seeing.” computer and consistent access to 1Z nity to borrow some specialized Students will keep a written journal of observations of the internet. equipment. The terms of resource Students will be required to nature in their homes, yards, parks, etc., visually capture provision and the exact equip- these observations frame-by-frame, record audio of their 2X ment,purchase software, or source and some material materials and/or equipment. Other materials requirements of the course will examinations, and learn how to combine all the elements 2 pm - 4 pm 2Y bewill shared be provided. with students The resource as the into a final moving image presentation. For the purposes requirements of this course are semester nears. Resources will be of this class “Nature”, in this context, can be broadly in- 2Z providedflexible andby mailwe are or curbsidecommitted pick to - upworking depending together on eachto find student’s creative terpreted. Objects, people, behavioral patterns, relation- location.solutions to meet the goals of this ships, emotions, etc., can all be natural elements in each 3X course with whatever resources a student’s specific environment. student has available. The terms of A collaborative project, with Ethan 3Y resource provision and the exact equipment, software, and material Murrow’s Intro Drawing class, will also 3Z requirements of the course will be incorporated into this course. Each be shared with students as the class will meet remotely for 30 min- semester nears. Resources will utes at the start of the class, followed be provided by mail or curbside by independent production / view- pickup depending on each student’s location. ing assigned screenings / individual Studio spaces may be accessible meetings with professor throughout by appointment. Physical distanc- the period, then meet remotely for 30 ing and other COVID-19 safety minutes at the end of class. protocols will be required. FALL 2020 51 Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS VMS-0091 [all levels]

SILVIA BOTTINELLI TINA WASSERMAN

SPECIAL TOPICS: 3 SHU SHAPING MODERNITY

A foundational inquiry into modernity focus- We will look at the ways that late 1800s and 10 am - 11 am ing on the histories of and interdisciplinary res- early 1900s sculptors elicited movement, story- onances between sculpture and film, this course telling, and emotions, sometimes departing from examines the linked and interconnected ways in representation to embrace abstractism, installa- which sculpture and film were in dialogue with one tion, and performance. Also, by investigating the another at a time of radical and abrupt transitions, aesthetic, formal and stylistic devices of film as which caused widespread anxiety and intensified well as its narrative codes and structures, the class existing inequalities. The birth of cinema is very addresses the evolution of cinema’s rich and com- Synchronous & asynchronous meetings. Weekly pre-recorded much connected to the changes inaugurated by plex language through broad historical, theoretical asynchronous lectures will be modernity, along with the industrial and mechan- and critical frameworks. available to all students. Ar- ical revolutions of the 19th century. The new art Our parallel inquiries in film and sculpture rangements can be made, at the form informed shifts in perception and artmaking will lead us through Impressionism; the historic discretion of the faculty, for those students in different time zones itself. While sculpture pre-exists modernity, dat- Avant-Gardes, including Cubism, Abstractism, Fu- who cannot meet synchronously. ing back into ancient human histories, the medi- turism, Dadaism, German Expressionism, and Con- With permission, sessions will um responded and adapted to the aesthetic, social structivism; Soviet filmmaking of the 1920s; Euro- be recorded for student access. and economic changes that went hand in hand with pean Modernism, Abstract Expressionism, and the Individual meetings with faculty. Group project work. technological progress. classical studio Hollywood film. Students enrolled in this course Only open to undergraduates. will be required to have a personal computer and consistent access to the internet. FALL 2020 52 Tuesday Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS VMS-0148 cross-listed with LAS-0191 & SPN-0091 [all levels] NINA GERASSI-NAVARRO EULOGIO GUZMÁN

3 SHU WHY DO ICONS MATTER? A FOCUS ON LATIN AMERICA 10:30 - 11:45 am Images visualize how we think about the past, the present and future, but how do we read them? Is this different from the ways cultural icons are signified? This class examines the conceptual formation of images, icon- Synchronous & asynchronous ic visual culture and its shaping through social history work. Arrangements can be made, and literary criticism. at the discretion of the faculty, for To unpack the complicated layered meaning of imag- those students in different time es, we explore some of the most notable cultural, politi- zones who cannot meet synchro- nously. With permission, sessions cal, and historical events and figures in Latin America to will be recorded for student gain an understanding of how socio-historical and cul- access. Individual meetings with tural events as well as literature play a determining role faculty. Group project work. in shaping interpretation. Students in this course will be required to have a personal com- Through focused presentations, readings, and discus- puter and consistent access to the sions on specific iconic figures, places and events within internet. The resource require- this cultural sphere the course will explore the lexicology ments of this course are flexible of images to establish why icons hold no singular mean- and we are committed to working together to find creative solutions ing. Among the icons driving discussion are Montezuma, to meet the goals of this course Malinche, Yanga (Emancipated Settlements), Simón Bo- with whatever resources a student livar, Sandino, Che Guevara, Student Protests in Tlatelol- has available. co, Frida Kahlo, Evita, and Maradona. FALL 2020 53 Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PAI-0131 [advanced]

KARMIMADEEBORA MCMILLAN

Synchronous & asynchronous Synchronous + asynchronous work. Arrangements can be made, work. Arrangements can be made, at the discretion of the faculty, SHU forat the those discretion students of inthe different faculty, for 2 timethose zones students who in cannot different meet time synchronously.zones who cannot With meet permission, synchro- sessionsnously. With will permission,be recorded sessionsfor 1X studentwill be recorded access. for student access. Individual meetings withwith faculty. ADVANCED faculty.Students enrolled in this course 1Y willStudents be required enrolled to have in this a personal course 11 am - 1 pm willcomputer be required and consistent to have a access personal to PAINTING 1Z thecomputer internet. and consistent access to theStudents internet. will be required to 2X purchaseStudents or willsource be requiredsome materials to and/orpurchase equipment. or source Othersome materialsmate- 2Y willrials be and/or provided. equipment. The resource Other This advanced class is designed for upper level requirementsmaterials will ofbe this provided. course Theare students focusing on painting practice or related 2Z flexibleresource andrequirements we are committed of this to disciplines. The goal is to advance students’ under- workingcourse are together flexible to findand wecreative are committed to working together to standing of independent projects and the relevant solutions to meet the goals of this 3X coursefind creative with whatever solutions resources to meet athe methods, contexts and concepts. goals of this course with whatever student has available. The terms of Emphasis will be on the development of a cohe- 3Y resources a student has available. resource provision and the exact The terms of resource provision sive creative project. Focus on studio time, critical equipment, software, and material 3Z and the exact equipment, soft- dialogue, and reflection on strategies for conceiv- ware,requirements and material of the requirements course will ing, researching, experimenting, building, con- be shared with students as the of the course will be shared with cluding, exhibiting and defending creative endeav- studentssemester asnears. the semesterResources nears. will Resourcesbe provided will by bemail provided or curbside by ors. Broad interpretation taken of what a painting mailpickup or dependingcurbside pickup on each depend student’s- can be. Experimental approaches and crossover inglocation. on each student’s location. between media fully supported. Studio spaces may bebe accessibleacces- At least one previous intermediate painting sibleby appointment. by appointment. Physical Physical distanc - distancinging and other and COVID-19 other COVID-19 safety course recommended. safetyprotocols protocols will be willrequired. be required. FALL 2020 54 Monday Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0175 [all levels]

EULOGIO GUZMAN PETER SCOTT

SHU Synchronous & asynchronous THE 4 work. Arrangements can be made, at the discretion of the faculty, for those students in different time DYNAMIC zones who cannot meet synchro- 1X nously. With permission, sessions will be recorded for student PRINTED 1Y access. am pm Individual meetings with faculty. 11 - 1 1Z Group project work. IMAGE Students in this course will be required to have a personal com- Relief Printmaking, 2X puter and consistent access to the internet. Students will be provided Transformed Graphics and Visualizing Collaborations in Unprecedented Times 2Y with some materials. The resource This course comes out of our shared interest in the plagues, and trans global exchanges that morphed our requirements of this course are 2Z flexible and we are committed to history, adaptation and morphing of printed imagery present world. The invention of the press brought ar- working together to find creative throughout the Americas, from the dawn of Western tistic innovation to this cataclysm and facilitated the 3X solutions to meet the goals of this printing/publishing, through early colonization, to the movement of printed images from Europe to Mexico, course with whatever resources a modern era. The course will provide students the oppor- Mexico to Asia, South America, and then back to Europe. 3Y student has available. The terms tunity to examine historical case studies from the 16th This unprecedented transfer of knowledge, from many of resource provision and the exact 3Z equipment, software, and material to the 20th century and to respond to these transforma- different directions, fundamentally shaped socio-eco- requirements of the course will tions in their own exploration of a range of relief print nomic environments and reinvested graphic imagery in be shared with students as the applications, from block carving and incising to digital new 2d and 3d ways. semester nears. Resources will be provided by mail or curbside pick- production. This new course will promote this dynamism of ex- up depending on each student’s Throughout history print has facilitated distanced change by combining a history-based studio exploration location. connections providing the opportunity to transcend of form to invest imagery with transcendent meaning. Studio spaces may be accessible by appointment. Physical distanc- adversity and produce a brighter future. The awareness It incorporates process and collaboration as much as ing and other COVID-19 safety of a New World 500 years ago brought the conquest transmission, reception, circulation and visual develop- protocols will be required. of mainland Americas including death, destruction, ment of ideas. FALL 2020 55 Thursday

DIG DRW FLM GRA MTL PAI PER PHT PRT SCP SND VID VMS

CHANTAL ZAKARI

4 SHU

In WebCrawlers: Artist’s Publications Based on Web 1X Sourcing students will develop the concept and design 1Y of an artist’s book based on content that is sourced on the web. We will look at artists using images and text 11 am - 1 pm 1Z Synchronous class meetings who are using the internet as an archive of popular with outside class work. With per- mission, sessions will be recorded culture and combining it with social, personal and his- 2X for student access. torical elements such as Mishka Henner, Paul Soullelis, Individual meetings with faculty. Clement Valla, Penelope Umbrico, Lauren Thorson, Da- 2 pm - 4 pm 2Y Group project work. vid Horvits, Trevor Paglean, Jason Huff & Mimi Cabell… Students enrolled in this course 2Z will be required to have a personal WEBCRAWLERS and many more. computer and consistent access The class will introduce you to the basics of publica- to the internet and to purchase ARTIST’S PUBLICATIONS tion design, text and image relationships, typography, 3X or source some materials and/ juxtaposition sequencing and pre-press. You will gain or equipment. Students will be BASED ON WEB SOURCING 3Y provided with some materials, technical skills in InDesign, Photoshop and Lightroom. some software, and the opportu- We will discuss various strategies on how to use found 3Z nity to borrow some specialized text, personal text, rewriting old text, editing photo- equipment. The terms of resource SMFA-0113 provision and the exact equip- [all levels] graphs. We will discuss copyright and legal and ethical ment, software, and material issues around ownership of an image. requirements of the course will The class will address the basics of self-publishing be shared with students as the and distribution as a way to reach a non-art audience. semester nears. Resources will be provided by mail or curbside pick- Along with using online print-on-demand publish- up depending on each student’s ing services we will use the Risograph press and the location. school’s Advanced Production Lab. Studio spaces may be accessible by appointment. Physical distanc- FALL 2020 ing and other COVID-19 safety protocols will be required. 56 Tuesday Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS DRW-0114 DAVID ANTONIO CRUZ

Synchronous & asynchronous SHU work. Arrangements can be made, 4 at the discretion of the faculty, for those students in different time zones who cannot meet synchro- REPRESENTATION nously. With permission, sessions 1X will be recorded for student access. Individual meetings with 1Y faculty. AND NARRATIVE Students enrolled in this course 1Z will be required to have a personal This studio course explores the employment of computer and consistent access narrative in observational forms of drawing and/or to the internet and to purchase painting. Topics and readings include historical and 2X or source some materials and/ or equipment. Students will be contemporary texts, graphic novels, animation, 2 pm - 4 pm 2Y provided with some materials. film, and theatre. We will examine the use of char- The resource requirements of this acter, story, arc, structure, and the lack there-of in 2Z course are flexible and we are works of fiction and non-fiction drawing. committed to working together to find creative solutions to meet the A broad range of media and methods will be 3X goals of this course with whatever discussed and used. There will be regular critiques 3Y resources a student has available. and discussions to help support student’s projects. The terms of resource provision 3Z and the exact equipment, soft- ware, and material requirements of the course will be shared with students as the semester nears. Resources will be provided by mail or curbside pickup depending on each student’s location. Studio spaces may be accessible by appointment. Physical distancing and other COVID-19 safety proto- cols will be required. FALL 2020 57 Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS

MICHAEL BARSANTI

2 SHU

1X

Synchronous. Individual meet- 1Y ings with faculty. SCP-0172 Students enrolled in this course [advanced] 1Z will be required to have a personal computer and consistent access 2X to the internet and to purchase or source some materials and/ DIRECTED STUDY 2 pm - 4 pm 2Y or equipment. The resource requirements of this course are This directed study is an opportunity for one- 2Z flexible and we are committed to on-one mentoring or consultation with the faculty and working together to find creative is not specific to any media, material or process. This is solutions to meet the goals of this 3X course with whatever resources a individually based coaching and is not a seminar. Direct- student has available. The terms of ed Study provides an opportunity to get into the weeds 3Y resource provision and the exact about how to design, build and install your work: what 3Z equipment, software, and material fasteners will you need? what material is best for your requirements of the course will concept? how can the work be built for efficient ship- be shared with students as the semester nears. ping? Since I specialize in Ceramics, this is also an op- portunity to work with students on ceramic material sci- ence and glaze development at a molecular level. There is a great deal that one can do theoretically using glaze manipulation software to fully understand what is going on chemically with glazes and clay. Faculty permission required. FALL 2020 58 Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS VID-0110 [all levels]

MARY ELLEN STROM

4 SHU

VIDEO 1X Synchronous & asynchronous work. Arrangements can be made, 1Y at the discretion of the faculty, for INSTALLATION those students in different time 1Z zones who cannot meet synchro- Video is one of the most important communication space, architecture and landscape, we will design im- nously. With permission, sessions will be recorded for student tools of our time. In this studio and seminar course, mersive video experiences using video mapping soft- 2 pm - 6 pm 2X access. Individual meetings with students will learn a range of skills to produce video ware. Students will learn to produce both single channel faculty. content based on their individual interests, concerns and multi-channel projects. Along with video, students 2Y Students enrolled in this course and passions. From research- based projects, to activist are encouraged to incorporate diverse media in their will be required to have a personal 2Z computer and consistent access works, to experiments in form, we will learn to design installations such as painting, sculpture, found objects, to the internet. Students will be ways to display artworks in physical space and on-line texts, performance, digital technologies, the internet, provided with some materials, that communicate your ideas and aesthetics with pow- music and sound. The seminar will trace an exciting array 3X some software, and the opportu- er and strength. Students will be instructed in camera of international video artists from the emergence of the nity to borrow some specialized 3Y equipment. The terms of resource composition, and through this develop their own indi- form in the 1960s, while concentrating on contemporary 3Z provision and the exact equip- vidual camera style and language. We will use mirrorless video installation. Visiting artists will present their proj- ment, software, and material cameras and camera mounts, or students can choose to ects and critique students’ work. During each week stu- requirements of the course will use their own cameras. Tutorials will include video ed- dents will participate in three hours of synchronous and be shared with students as the semester nears. Resources will be iting and compositing using Adobe Premiere and Adobe asynchronous learning including one hour of technical provided by mail or curbside pick- After Effects. Students will participate in lighting design instruction through tutorials and/or workshops; one hour up depending on each student’s workshops to learn both conventional and experimen- dedicated to the discussion of readings and screenings, location. Studio spaces may be tal lighting techniques. Students will learn to produce and/or artists working in the field and/or artist talks; and accessible by appointment. Phys- ical distancing and other COVID-19 sound scores for their projects in workshops on sound one hour to present and dialogue about student’s indi- safety protocols will be required. recording, editing and mixing. Through engaging with vidual artworks-in-progress. FALL 2020 59 Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0107 [all levels] SCULPTURE ASSCULPTURE PERFORMANCE

This course will be taught SHU synchronously with both instruc- 4 tors and in separate groups with individual instructors. Students will work asynchronously as well. DANIELLE ABRAMS 1X Arrangements can be made, at the discretion of the faculty, for those MAGS HARRIES students in different time zones 1Y who cannot meet synchronously. The power and beauty of nature can be a great Students enrolled in this course source for reflection and comfort. Recent research has 1Z will be required to have a personal proven the connection between experiences with nature computer and consistent access and feelings of well-being and resilience. In Altered pm pm to the internet and to purchase 2 - 6 2X or source some materials and/ Landscape we will look to the natural world, wherever and or equipment. Students will be however that can be found, seen or understood: from city 2Y provided with some software. The parks to farmland, from a window view to a home garden, 2Z resource requirements of this from the study of indoor plants to a massive tree. These course are flexible and we are committed to working together to diverse spaces will guide us in our art making, as a source 3X find creative solutions to meet the for materials, inspiration, reflection and imagery. Field goals of this course with whatever notes, mindfulness exercises, and extended drawings will 3Y resources a student has available. serve as places for students to reflect on the world around The terms of resource provision 3Z and the exact equipment, soft- and within themselves. ware, and material requirements In addition to drawing, work made in the class may of the course will be shared with incorporate materials found in nature including pigments students as the semester nears. and other natural materials, as well as photography, sound Resources will be provided by mail or curbside pickup depending on and experiential actions, and there will be opportunities each student’s location. for individual pursuits. We will learn about contemporary PERFORMANCE AS SCULPTURE AS PERFORMANCE Studio spaces may be accessible and historical artworks that respond to nature both phys- by appointment. Physical distanc- ing and other COVID-19 safety ically and as a reflection of inner life, from earth works to protocols will be required. painting and drawing to sculpture to solitary performance. FALL 2020 60 Tuesday Thursday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PRT-0162 [all levels]

CAROLYN MUSKAT MICHELLE SAMOUR Synchronous & asynchronous PETER SCOTT meetings. Arrangements can be SHU made, at the discretion of the 4 faculty, for those students in different time zones who cannot meet synchronously. With permis- sion, sessions will be recorded for PRINT & PAPER: 1X student access. Individual meetings with faculty. 1Y Group project work. HOME STRATEGIES Students enrolled in this course 1Z will be required to have a personal computer and consistent access to the internet and to purchase This course will provide intensive instruction and proj- 2X or source some materials and/ ect workshops on a wide range of print processes, from or equipment. Students will be 2Y provided with some materials. stencil and relief to planographic techniques, in addi- The resource requirements of this tion to papermaking production as an integral part of the 2Z course are flexible and we are printed image. The keystone element of the curriculum committed to working together to find creative solutions to meet the will deal with student’s home studio set-up: their work- 3X goals of this course with whatever space, equipment, and its design for ease and efficien- resources a student has available. cy of use. Students in the class will be rotated through a 6 pm - 8 pm 3Y The terms of resource provision series of print/paper projects as they familiarize them- and the exact equipment, soft- 3Z ware, and material requirements selves with the various techniques. This class will provide of the course will be shared with indispensable strategies for establishing a home studio, students as the semester nears. both small and large, as the student’s art practice requires Resources will be provided by mail workspace independent of the school facilities. Critiques or curbside pickup depending on each student’s location. and demonstrations will happen online while consultation Studio spaces may be accessible and process coaching will be addressed individually or in by appointment. Physical distanc- small groups. ing and other COVID-19 safety protocols will be required.

FALL 2020 61 Friday

63 SMFA-0093 Senior Thesis 9-1 64 SMFA-0105 Building Utopia: 3D & the Imaginary 9-1 65 SMFA-0105 Drawing Dialogues 9-1 66 PHT-0118 Intermediate Photography 9-1 67 VMS-0001 Intro to Visual & Material Studies 10-12:30 68 SMFA-0101 Repetition, Pattern, & Seriality 11-1, 2-4 69 VMS-0105 Cinematic Cities 1:30-2:30 70 SMFA-0001 First Year Program [Sec. 2: 2-4]

FALL 2020 62 Friday

SMFA-0093 RIA BRODELL SENIOR THESIS KENDALL REISS 4 SHU Senior Thesis provides a platform for the de- and interactions with thinkers and specialists from velopment of an ongoing independent art prac- our wider university and global communities. Stu- tice. The program spans two continuous semesters, dents are challenged to explore different modes and 9 am - 1 pm 1X Synchronous & asynchronous constructing a year-long trajectory of research, methodologies of research and art-making, as well meetings. Arrangements can be writing, art-making and career-building centered as make connections between art and other intel- 1Y made, at the discretion of the around critiques with program faculty, visiting art- lectual and creative practices. faculty, for those students in dif- ists, and arts professionals. The emphasis in the Spring semester shifts to 1Z ferent time zones who cannot meet synchronously. With permission, Students are challenged to explore their own in- thesis production and the development of various sessions will be recorded for stu- dividual interests and practices, within the context professional practices, including writing about and 2X dent access. Individual meetings of a group of peers and faculty, towards the goal formally presenting your work. The Spring semester 2Y with faculty. Group project work. of developing a comprehensive thesis project. In- culminates in the Senior Thesis Exhibition, towards Students enrolled in this course will be required to have a personal dependent studio work is required throughout the which students are required to work in planning, 2Z computer and consistent access year, and students should expect to dedicate at least development, marketing, catalogue development, to the internet and to purchase 6-12 additional hours per week outside of synchro- as well as building and installation of the exhibi- 3X or source some materials and/ nous class meetings to work on the development of tion. or equipment. Students will be 3Y provided with some software their studio practice. The arc of the year can be summarized in these and the opportunity to borrow During the Fall semester, students will concen- eight themes: 3Z some specialized equipment. The trate on formal concept-based research and writing ·Creating Community resource requirements of this exercises, to support the development of an inde- ·Building a Practice course are flexible and we are committed to working together to pendent body of work. As a class, we will regular- ·Research as a Form of Critical Inquiry find creative solutions to meet the ly engage in discourse and the public exchange of ·Making Process Visible goals of this course with whatever ideas in the form of individual critiques and discus- ·Artistic Output as Scholarship resources a student has available. sions; small group interactions with peers in read- ·Art in Conversation with Other Practices Studio spaces may be accessible by appointment. Physical distanc- ing circles, roundtables, and working groups; whole ·Public Presentation ing and other COVID-19 safety program group meetings, lectures, and artist talks; ·Thesis Exhibition & Catalog protocols will be required. FALL 2020 63 Friday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0105 [all levels]

FLOOR VAN DE VELDE KURT RALSKE BUILDING UTOPIA 4 SHU 3D & THE IMAGINARY &3D THE This course will be taught To answer the question, “What is utopia?” is to 9 am - 1 pm 1X synchronously with both instruc- open a window into ourselves, revealing our val- tors and in separate groups with ues, desires, hopes, and fears. This hybrid studio 1Y individual instructors. Students / seminar course explores the idea of utopia, as a will work asynchronously as well. Arrangements can be made, at the theme for imaginative artwork, and as a problem 1Z discretion of the faculty, for those in politics, philosophy, and psychology. Students students in different time zones learn two important techniques for digital 3D who cannot meet synchronously. 2X Students enrolled in this course work: using CAD software Rhino, we learn how to will be required to have a personal create custom hard surface and organic 3D mod- 2Y computer and consistent access els, digitally sculpting anything you might imag- to the internet. Students will be 2Z provided with some materials ine; and using the software Unity, we learn how and some software. The resource to build 3D worlds that are interactive, navigable, 3X requirements of this course are inhabitable. These techniques provide a solid ba- flexible and we are committed to sis for future work in 3D fabrication, virtual reali- 3Y working together to find creative ty, augmented reality, and 3D animation. solutions to meet the goals of this 3Z course with whatever resources a The idea of utopia is considered both as a po- student has available. The terms of litical question (“How should we all live togeth- resource provision and the exact equipment, software, and material er?”) and on an individual level (“What do I really requirements of the course will want?”). Seminar discussion, based on texts by be shared with students as the Plato, Thomas More, Lacan, Mario Carpo, Hito St- semester nears. Studio spaces may be accessible eyerl, Juhani Palasmaa develops perspectives that by appointment. Physical distanc- are usefully applied to the studio work done in ing and other COVID-19 safety the course. We discuss our dreams, then we build protocols will be required. them in 3D. FALL 2020 64 Friday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0132 [all levels]

Synchronous & asynchronous work. Arrangements can be made, SHU at the discretion of the faculty, for 4 those students in different time DRAWING DIALOGUES zones who cannot meet synchro- CHARLES GOSS nously. With permission, sessions am pm will be recorded for student 9 - 1 1X access. Individual meetings with faculty. 1Y Students enrolled in this course will be required to have a personal 1Z computer and consistent access to the internet and to purchase This course is for advanced students developing or source some materials and/or 2X equipment. Students will be pro- independent projects in a broad understanding of vided with some materials and the contemporary drawing. The relationships with con- 2Y opportunity to borrow some spe- tent, strategies, contexts and concept will be ex- cialized equipment. The resource plored and shared. Our coursework will include group 2Z requirements of this course are flexible and we are committed to and individual critique, regular reading assignments working together to find creative with scheduled mini-seminars, lectures on pertinent 3X solutions to meet the goals of this artists, an all-term assignment for each student and 3Y course with whatever resources a continued progress on self-designed independent student has available. The terms of 3Z resource provision and the exact projects through the term. We will have a mid-term equipment, software, and material and final critique. requirements of the course will Advanced level course. At least one previous inter- be shared with students as the mediate drawing course recommended. semester nears. Resources will be provided by mail or curbside pick- up depending on each student’s location. Studio spaces may be accessible by appointment. Phys- ical distancing and other COVID-19 safety protocols will be required.

FALL 2020 65 Friday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS PHT-0118 [intermediate]

TBA

Synchronous & asynchronous work. Arrangements can be made, INTERMEDIATE SHU at the discretion of the faculty, for 4 those students in different time zones who cannot meet synchro- nously. Individual meetings with PHOTOGRAPHY 9 am - 1 pm faculty. 1X Students enrolled in this course The unique conditions of the present moment have 1Y will be required to have a personal provided an opportunity for this course to focus on top- computer and consistent access ic-based lectures and photography assignments. Students to the internet. Students will be 1Z provided with some software and will be encouraged to engage with the challenges in their the opportunity to borrow some own space and time, such as the CoVid-19 pandemic that is 2X specialized equipment. The terms likely to re-emerge in the fall, endemic racism, protests, a of resource provision and the exact siege on visual and print journalism, and an upcoming U.S. 2Y equipment, software, and material requirements of the course will election that promises to be tumultuous. Students will 2Z be shared with students as the receive instruction in a range of photographic solutions, semester nears. Resources will from observational photography to computer-generated be provided by mail or curbside works. The course will address the great opportunity of a 3X pickup depending on each student’s moment that may be pivotal and could upend the long- location. Studio spaces may be 3Y accessible by appointment. Physi- standing societal scourges in play. Students are expected cal distancing and other COVID-19 to put additional hours every week into their photography 3Z safety protocols will be required. assignments and reading. The course will be divided into lecture, critique, discussion of readings, and technical in- struction. Technical instruction may be taught asynchro- nously through pre-recorded tutorials, or synchronously through demonstrations. The online synchronous portion of the course should not exceed 50% and may include some individual meetings with faculty. Introductory pho- tography course or its equivalent recommended.

FALL 2020 66 Friday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS VMS-0001

EMILY GEPHART EULOGIO GUZMAN TINA WASSERMAN 3 SHU INTRO TO VISUAL & MATERIAL STUDIES

This course will familiarize art students with some 10 am - 12:30 pm of the questions, historical movements, and texts that enrich both the making and interpreting art today. Synchronous & asynchronous Introduction to Visual and Material Studies pro- meetings. Weekly pre-recorded asynchronous lectures will be vides a rigorous study of some historical thinkers and available to all students. Ar- concepts that have shaped the roles that visual culture rangements can be made, at the and aesthetics play in society and the relationship discretion of the faculty, for those students in different time zones between image and realities in ways that continue to who cannot meet synchronously. resonate today. Above all, this course asks students With permission, sessions will be to engage their own creative skills as writers, read- recorded for student access. Individual meetings with faculty. ers, thinkers, curators, and makers in response to Group project work. visual, literary, historical, and theoretical concepts. Students enrolled in this course Introductory course open to first year students. will be required to have a personal computer and consistent access to the internet. The resource require- ments of this course are flexible and we are committed to working together to find creative solutions to meet the goals of this course with whatever resources a student has available. FALL 2020 67 Friday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS SMFA-0101 [all levels]

ASUKA OHSAWA CAROLYN MUSKAT

4 SHU REPETITION, 1X

Synchronous & asynchronous 1Y meetings. Arrangements can be PATTERN, made, at the discretion of the 11 am - 1 pm 1Z faculty, for those students in dif- ferent time zones who cannot meet AND synchronously. With permission, 2X sessions will be recorded for stu- 2 pm - 4 pm dent access. Individual meetings SERIALITY 2Y with faculty. Group project work. Students enrolled in this course 2Z will be required to have a personal This class focuses on the idea of repetition, patterns, computer and consistent access and seriality using both analogue and digital matrices. Stu- 3X to the internet and to purchase dents will learn how to make, manipulate, and print hand- or source some materials and/ 3Y or equipment. Students will be made stencils/plates to generate multiple variations from a provided with some materials, single matrix, as well as how to create repeat patterns from 3Z some software, and the opportu- a single motif using Adobe Photoshop and/or Illustrator. The nity to borrow some specialized digitally generated patterns will be printed either on paper equipment. The terms of resource or textile using print-on-demand services. Presentations provision and the exact equipment, software, and material require- and discussions will include cultural and political histories ments of the course will be shared of patterns, intertwined history of print media and design, with students as the semester and adaptation of repetitions and seriality within the con- nears. Resources will be provided temporary graphic arts practice. Group critiques and indi- by mail or curbside pickup depend- ing on each student’s location. vidual consultation will focus on the development of stu- dents’ independent voices throughout the semester. FALL 2020 68 Friday

DIG DRW FLM GRA PAI PER PHT PRT SCP SND VID VMS VMS-0105 cross-listed with FMS-0072 [all levels]

3 SHU CINEMATIC CITIES TINA WASSERMAN 1:30 - 2:30 pm Synchronous & asynchronous work. Weekly pre-recorded asyn- chronous lectures will be available to all students. Arrangements can be made, at the discretion of the Invented at the end of the 19th century, as a uniquely faculty, for those students in dif- modern medium at a time of enormous urban growth, cin- ferent time zones who cannot meet ema has had an illustrious relationship to the city. From synchronously. With permission, early silent celebrations of modernity in Man with a Mov- sessions will be recorded for stu- dent access. Individual meetings ie Camera, to later postmodern dystopian machinations in with faculty. The Matrix, film uniquely scripts both the celebration and Students enrolled in this course decay of cities. will be required to have a personal computer and consistent access to Guided by thematic topics, we will investigate the the internet. The resource require- representation of the city as the site of promise, eman- ments of this course are flexible cipation, and creativity but also as the site of dystopian and we are committed to working futures, where the excesses of capitalist expansion and together to find creative solutions to meet the goals of this course global climate change become starkly evident. with whatever resources a student has available.

FALL 2020 69 Monday Friday

TANYA CRANE MAYA ERDELYI-PEREZ MICHAEL BARSANTI KATA HULL

SMFA-0001 2 SHU

FIRST YEAR 1X Synchronous & asynchronous Section 1 am am meetings. Arrangements can be 9 - 11 1Y made, at the discretion of the PROGRAM 1Z faculty, for those students in dif- ferent time zones who cannot meet synchronously. With permission, The First Year Program is designed to orient incoming BFA and Combined sessions will be recorded for stu- Degree students to the singular opportunities offered at SMFA at Tufts. This 2X dent access. Individual meetings course will combine analytical thinking and discussion as well as prompts Section 2 2 pm - 4 pm with faculty. for students to create work. Students will work in break-out groups that re- 2Y Students enrolled in this course spond to a variety of issues within contemporary art. Each week will feature will be required to have a personal 2Z computer and consistent access a visiting artist who brings a unique perspective into the incredibly diverse to the internet. Students will be world of art and making. Students will also have opportunities to visit area provided with some materials, museums, galleries and artists’ studios virtually and make work in response 3X some software, and the opportu- to these experiences. If circumstances allow there will be opportunities for 3Y nity to borrow some specialized on campus work in studios utilizing all necessary health protocols. equipment. The terms of resource 3Z provision and the exact equip- Students will be introduced to the academic support and resource op- ment, software, and material portunities through the Center for the Enhancement of Learning and Teach- requirements of the course will ing (CELT), the Student Accessibility & Academic Resource (StAAR) Center, be shared with students as the our Research and Instruction Librarian, and the exhibitions and gallery semester nears. Resources will be staff. We will also have introductions to the SMFA labs and their individual provided by mail or curbside pick- health and safety protocols. up depending on each student’s location. Studio spaces may be There will be approximately 1 to 1.5 hours of synchronous and asynchro- accessible by appointment. Phys- nous content weekly. ical distancing and other COVID-19 safety protocols will be required. FALL 2020 70 MFA PROGRAM MAT PROGRAM ENGLISH SMFA MAT ENGS

72 EDS-0121 Art Education & Human Development with Multicultural Perspective [W] 5:30-8:30 ENGS-0001 Expository Writing [Sec. 1: M & W 6-7:15] Expository Writing [Sec.2: M & W 7:30-8:45] Expository Writing [Sec.3: T & R 6-7:15] Expository Writing [Sec. 4: T & R 7:30-8:45] 73 SMFA-0070 Undergraduate Internship SMFA-0270 Graduate Internship 74 SMFA-0203 Graduate Group Critique [Sec. 1: M 2-5] Graduate Group Critique [Sec. 2: M 6-9] Graduate Group Critique [Sec. 3 & 4: T 6-9] SMFA-0204 Graduate CAP Seminar [M] 9-12

FALL 2020 71 Wednesday

Monday 6 pm - 7:15 pm ADAM SPELLMIRE KAY FURST 7:30 pm - 8:45 pm ADAM SPELLMIRE Tuesday 3 SHU 3 SHU EDS-0121 6 pm - 7:15 pm DAN GRAHAM ART EDUCATION 7:30 pm - 8:45 pm COURTNEY MALONEY & HUMAN DEVELOPMENT WITH MULTICULTURAL PERSPECTIVE 5:30 - 8:30 pm

This course considers human development from early childhood through adolescence through the lens of the artist-teacher. Read- ings, seminar activities and field visits to PreK-12 classrooms will focus on the role of art in human development and learning guided by theories of multicultural education. Special attention is paid to ENGS-0001 how art teachers engage youth in studying, critiquing and making visual culture while considering the stages of human development and student’s diverse identities. EXPOSITORY WRITING Field experiences include brief observations of a range of public school art classrooms and other community art making settings. In- troductions to art curriculum development, seminar reflections and classroom discourse are cultivated to respond to student observa- Explores the principles of effective written communication and tions about art and human development of learners in multicultural provides intensive practice in writing various types of expository settings. prose, especially analysis and persuasion. Open to all BFA students with priority registration given to BFA Examines essays by contemporary and earlier authors as in- students who intend to apply to the MAT program. stances of the range and versatility of standard written English.

FALL 2020 72 RYAN SMITH 2-5 SHU 2-5 SHU

SMFA-0070 SMFA-0270 UNDERGRADUATE GRADUATE INTERNSHIP INTERNSHIP

Internships for Studio Credit are an important part of SMFA at Tufts Uni- Internships for Studio Credit are an important part of SMFA at Tufts versity’s studio arts curriculum and a great complement to your studio train- University’s studio arts curriculum and a great complement to your studio ing. Whether your internship is with a commercial design firm, an education training. Whether your internship is with a commercial design firm, an ed- program, a community garden, a new media facility, a non-profit arts orga- ucation program, a community garden, a new media facility, a non-profit nization, a gallery venue, or a professional artist’s studio, you will acquire arts organization, a gallery venue, or a professional artist’s studio, you valuable skills and develop new insights into your chosen creative path. will acquire valuable skills and develop new insights into your chosen cre- Tufts Career Center staff offer extensive support and guidance along the ative path. way. Interns also participate in a two-part evaluation process, document- Tufts Career Center staff offer extensive support and guidance along ing rigorous self-reflection that advances professional goals and maximizes the way. Interns also participate in a two-part evaluation process, doc- learning outcomes. This credit-bearing option is available to students in the umenting rigorous self-reflection that advances professional goals and Studio Diploma, BFA, and Dual Degree BFA + BA/BS programs. Students en- maximizes learning outcomes. This credit-bearing option is available to rolled in the Post-Baccalaureate or MFA program are eligible with permission students in the Studio Diploma, BFA, and Dual Degree BFA + BA/BS pro- from the Program Directors. grams. Students enrolled in the Post-Baccalaureate or MFA program are For detailed descriptions of internship opportunities and one-on-one eligible with permission from the Program Directors. For detailed descrip- advising, come visit us in the Tufts Career Center. All students seeking intern- tions of internship opportunities and one-on-one advising, come visit us ships are required to receive written approval from the Internship Director at in the Tufts Career Center. All students seeking internships are required to registration. receive written approval from the Internship Director at registration. Prerequisite: one year of study and no fewer than two remaining review Prerequisite: one year of study and no fewer than two remaining re- boards prior to graduation. Transfer students must consult with Academic Af- view boards prior to graduation. Transfer students must consult with Aca- fairs to determine eligibility. demic Affairs to determine eligibility.

FALL 2020 73 Monday THE GRADUATE PROGRAM Monday 2 pm - 5 pm JANE GILLOOLY 6 pm - 9 pm MARK COOPER MEGAN MCMILLAN JEANNIE SIMMS Tuesday 3 SHU 6 pm - 9 pm DAVID ANTONIO CRUZ 3 SHU 6 pm - 9 pm BONNIE DONOHUE

9 - 12 pm SMFA-0204 SMFA-0203 GRADUATE GRADUATE CAP SEMINAR GROUP CRITIQUE

Contemporary Art Practice (CAP) is a mandatory graduate This course is designed to build and develop the verbal and written ar- seminar open only to first year Master of Fine Arts students. ticulation critique skills among the first and second year graduate students It is held in the fall semester and is taught by members of the in a group setting facilitated by a faculty member. Critique is an essential graduate faculty. Subjects are announced each year. skill for students to develop. Graduate Group Critique is a forum in which In Fall 2020 the subject will be an examination of the con- the capability of each student to identify and articulate the concerns, issues cept of “health.” Writings and artworks to be included will ad- and motivations that form the basis of their research and practice expands. dress race and health; care labor; mental health; health as mo- Through focusing on the ability to articulate the concerns investigated and rality; systems of health; art, imagination and its relationship addressed through each individual student’s artwork, in whichever form that to a healthy society. may take, this course assists students in both preparing Synchronous; arrangements Synchronous; arrangements for their review boards and preparing for the defense can be made, at the discretion of can be made, at the discretion of of their thesis. the faculty, for those students in the faculty, for those students in All first and second year Master of Fine Arts stu- different time zones who cannot different time zones who cannot meet synchronously; individu- meet synchronously; individu- dents are required to take this course each semester. al meetings with faculty when al meetings with faculty when necessary. necessary. FALL 2020 74 All images in this booklet be- long to the individual artists, Jane Gillooly - [email protected] except for images on pages 23, 53 and 69 are in public domain. Charles Goss - [email protected] Cover image by Peter Scott. Dan Graham - [email protected] Angelina Gualdoni - [email protected] Eulogio Guzman - [email protected] Mags Harries - [email protected] Nate Harrison - [email protected] Andrew Hlynsky - [email protected] Kata Hull - [email protected] Patte Loper - [email protected] Eva Lundsager - [email protected] FOR QUESTIONS REGARDING ACADEMIC Courtney Maloney - [email protected] ADVISING, CONTACT - [email protected] Karmimadeebora McMillan - [email protected] Megan McMillan - [email protected] FOR QUESTIONS REGARDING REGISTRATION, Mara Metcalf - [email protected] CONTACT - [email protected] Rachelle Mozman Solano - [email protected] (617) 627-2000 Ethan Murrow - [email protected] Carolyn Muskat - [email protected] FOR MORE INFORMATION ABOUT A SPECIFIC Asuka Ohsawa - [email protected] COURSE, CONTACT THE FACULTY: Kurt Ralske - [email protected] Danielle Abrams - [email protected] Betsy Redelman Diaz - [email protected] Michael Barsanti - [email protected] Laura Beth Reese - [email protected] Silvia Bottinelli - [email protected] Kendall Reiss - [email protected] Ria Brodell - [email protected] Jules Rochielle Sievert - [email protected] Bill Burke - [email protected] Jeannie Simms - [email protected] Mark Cooper - [email protected] Anthony Romero - [email protected] Tanya Crane - [email protected] Rhoda Rosenberg - [email protected] David Antonio Cruz - [email protected] Michelle Samour - [email protected] Bonnie Donohue - [email protected] Jennifer Schmidt - [email protected] Maya Erdelyi-Perez - [email protected] Peter Scott - [email protected] Jesseca Ferguson - [email protected] Ryan Smith - [email protected] Samantha Fields - [email protected] Adam Spellmire - [email protected] Joel Frenzer - [email protected] Mary Ellen Strom - [email protected] Kay Furst - [email protected] Tina Wasserman - [email protected] Emily Gephart - [email protected] Floor van de Velde - [email protected] Nina Gerassi-Navarro - [email protected] Chantal Zakari - [email protected] FALL 2020 75