2021–22 Bulletin Graduate School of Art Bulletin 2021-22 Table of Contents (07/22/21)
Table of Contents
About This Bulletin ...... 2
About Washington University in St. Louis ...... 3
Trustees & Administration ...... 3
Academic Calendar ...... 3
Campus Resources ...... 4
University Policies ...... 7
University Affiliations ...... 12
Graduate School of Art ...... 14
Sam Fox School ...... 41
MFA in Illustration & Visual Culture ...... 41
MFA in Visual Art ...... 43
Administration ...... 45
Admissions ...... 45
Policies ...... 45
Financial Information ...... 49
Interdisciplinary Opportunities ...... 51
Inter-University Exchange Program ...... 51
Skandalaris Center for Interdisciplinary Innovation and Entrepreneurship ...... 52
Index ...... 54
1 Bulletin 2021-22 About This Bulletin (07/22/21)
The presence of a course in this Bulletin signifies that it is part About This Bulletin of the curriculum offered and may be scheduled for registration. Enrollment requirements are determined by term. The graduate and professional Bulletins are the catalogs of Every effort is made to ensure that the information, applicable programs, degree requirements, courses that may be offered policies and other materials presented in the Bulletin are and course descriptions, pertinent university policies and faculty accurate and correct as of the date of publication (July 22, 2021). of the following schools of Washington University in St. Louis: Washington University reserves the right to make changes at Architecture & Urban Design; Art; Arts & Sciences; Business; any time without prior notice. Therefore, the electronic version Engineering; Law; Medicine; and Social Work & Public Health. of the Bulletin may change from time to time without notice. The University College Bulletin is the catalog of University The governing document at any given time is the then-current College, the professional and continuing education division version of the Bulletin, as published online, and then-currently of Arts & Sciences at Washington University in St. Louis. applicable policies and information are those contained in that The catalog includes programs, degree requirements, course Bulletin. descriptions and pertinent university policies for students earning For the most current information about registration and available a degree through University College. courses, visit WebSTAC (https://acadinfo.wustl.edu) and Course The 2021-22 Bulletin is entirely online but may be downloaded in Listings (https://courses.wustl.edu/Semester/Listing.aspx), PDF format for printing. Individual pages as well as information respectively. Please email the Bulletin editor, Jennifer Gann, from individual tabs may be downloaded in PDF format using the ([email protected]) with any questions concerning the PDF icon in the top right corner of each page. To download the Bulletin. full PDF, please choose from the following: • Architecture & Urban Design Bulletin (PDF) — Coming soon • Art Bulletin (PDF) — Coming soon • Arts & Sciences Bulletin (PDF) — Coming soon • Business Bulletin (PDF) — Coming soon • Engineering Bulletin (PDF) — Coming soon • Law Bulletin (PDF) — Coming soon • Medicine Bulletin (PDF) — Coming soon • Social Work & Public Health Bulletin (PDF) — Coming soon • University College Bulletin (undergraduate & graduate) (PDF) — Coming soon The degree requirements and policies in the 2021-22 Bulletin apply to students entering Washington University during the 2021-22 academic year. Courses at Washington University are coded by department and include a three- or four-digit number that generally means the following, although students should check with the school or department offering the courses to be certain: • 100 to 199 are primarily for first-year students; • 200 to 299 are primarily for sophomores; • 300 to 399 are primarily for juniors; • 400 to 499 are primarily for juniors and seniors, although certain courses may carry graduate credit; and • 500 and above are offered to graduate students and to juniors and seniors who have met all stated requirements. (If there are no stated requirements, juniors and seniors should obtain permission of the instructor.) For example: Course L07 105 is an introductory course offered by the Department of Chemistry (L07).
2 Bulletin 2021-22 About Washington University in St. Louis (07/22/21)
• to prepare students with the attitudes, skills and habits of About Washington lifelong learning and leadership, thereby enabling them to be productive members of a global society; and University in St. • to be an institution that excels by its accomplishments in our home community of St. Louis as well as in the nation and the Louis world. To this end, we intend to do the following: Who We Are Today • to judge ourselves by the most exacting standards; Washington University in St. Louis — a medium-sized, • to attract people of great ability from diverse backgrounds; independent university — is dedicated to challenging its • to encourage faculty and students to be bold, independent faculty and students alike to seek new knowledge and greater and creative thinkers; understanding of an ever-changing, multicultural world. The • to provide an exemplary, respectful and responsive university is counted among the world's leaders in teaching and environment for living, teaching, learning and working for research, and it draws students from all 50 states, the District of present and future generations; and Columbia, Guam, Puerto Rico and the Virgin Islands. Students • to focus on meaningful, measurable results for all of our and faculty come from more than 100 countries around the endeavors. world. The university offers more than 250 programs and 5,500 Trustees & Administration courses leading to associate, bachelor's, master's, and doctoral degrees in a broad spectrum of traditional and interdisciplinary Board of Trustees fields, with additional opportunities for minor concentrations Please visit the Board of Trustees website (http:// and individualized programs. For more information about the boardoftrustees.wustl.edu) for more information. university, please visit the University Facts (http://wustl.edu/ about/facts/) page of our website. University Administration Enrollment by School In 1871, Washington University co-founder and then-Chancellor William Greenleaf Eliot sought a gift from Hudson E. Bridge, For enrollment information (https://wustl.edu/about/university- charter member of the university's Board of Directors, to endow facts/#students), please visit the University Facts page of our the chancellorship. Soon it was renamed the "Hudson E. Bridge website. Chancellorship." Committed to Our Students: Mission Led by the chancellor, the officers of the university administration Statement (http://wustl.edu/about/leadership/) are detailed on the university Washington University's mission is to discover and disseminate website. knowledge and to protect the freedom of inquiry through research, teaching and learning. Academic Calendar Washington University creates an environment that encourages The academic calendar of Washington University in St. Louis is and supports an ethos of wide-ranging exploration. Washington designed to provide an optimal amount of classroom instruction University's faculty and staff strive to enhance the lives and and examination within a manageable time frame, facilitating our livelihoods of students, of the people of the greater St. Louis educational mission to promote learning among both students community, of the country and of the world. and faculty. Individual schools — particularly our graduate and professional schools — may have varying calendars due to the Our goals are as follows: nature of particular fields of study. Please refer to each school’s • to welcome students, faculty and staff from all backgrounds website for more information. to create an inclusive community that is welcoming, nurturing Fall Semester 2021 and intellectually rigorous; • to foster excellence in our teaching, research, scholarship College of Arts & Sciences, McKelvey School of and service; Engineering, Olin Business School, Sam Fox School of Design & Visual Arts, and University College
3 Bulletin 2021-22 About Washington University in St. Louis (07/22/21)
Date Day Description Campus Resources August 30 Monday First day of classes September 6 Monday Labor Day - no classes Student Support Services October 9-12 Saturday-Tuesday Fall Break - no classes The Learning Center. The Learning Center is located on November 24-28 Wednesday- Thanksgiving break - the lower level of the Mallinckrodt Center, and it is the hub of Sunday no classes academic support at Washington University in St. Louis. We December 10 Friday Last day of classes provide undergraduate students with assistance in a variety of forms. Most services are free, and each year more than December 13-22 Monday- Reading and Finals 2,000 students participate in one or more of our programs. For Wednesday more information, visit the Learning Center website (https:// Spring Semester 2022 learningcenter.wustl.edu/) or call 314-935-5970. There are three types of services housed within the Learning Center: College of Arts & Sciences, McKelvey School of Engineering, Olin Business School, Sam Fox School of • Academic Mentoring Programs offer academic support Design & Visual Arts, and University College in partnership with the academic departments in a variety of forms. Academic mentoring programs are designed Date Day Description to support students in their course work by helping them January 18 Tuesday First day of classes develop the lifelong skill of "learning how to learn" and by March 13-19 Sunday-Saturday Spring Break - no stimulating their independent thinking. Programs include classes course-specific weekly structured study groups facilitated by highly trained peer leaders as well as course-specific April 29 Friday Last day of classes weekly walk-in sessions facilitated by academic mentors May 2-11 Monday- Reading and Finals in locations, at times and in formats convenient for the Wednesday students. The Learning Center also offers individual Commencement Ceremonies consulting/coaching for academic skills such as time management, study skills, note taking, accessing resources Date Day Description and so on. Other services include fee-based graduate and May 20 Friday Class of 2022 professional school entrance preparation courses. Commencement • Disability Resources supports students with disabilities by fostering and facilitating an equal access environment for Summer Semester 2022 the Washington University community of learners. Disability Date Day Description Resources partners with faculty and staff to facilitate academic and housing accommodations for students with May 23 Monday First Summer Session disabilities on the Danforth Campus. Students enrolled begins in the School of Medicine should contact their program's May 30 Monday Memorial Day holiday director. Please visit the Disability Resources website (no classes) (https://students.wustl.edu/disability-resources/) or contact July 4 Monday Independence Day the Learning Center at 314-935-5970 for more information. holiday - no classes • TRIO: Student Support Services is a federally August 18 Thursday Last Summer Session funded program that provides customized services for ends undergraduate students who are low income, who are Washington University recognizes the individual student’s choice the first in their family to go to college, and/or who have a in observing religious holidays that occur during periods when documented disability. Services include academic coaching, classes are scheduled. Students are encouraged to arrange with academic peer mentoring, cultural and leadership programs, their instructors to make up work missed as a result of religious summer internship assistance and post-graduation advising. observance, and instructors are asked to make every reasonable First-year and transfer students are considered for selection effort to accommodate such requests. during the summer before they enter their first semester. Eligible students are encouraged to apply when they are notified, because space in this program is limited. For more information, visit the TRIO Program website (https:// students.wustl.edu/trio-program/).
4 Bulletin 2021-22 About Washington University in St. Louis (07/22/21)
Medical Student Support Services. For information about Campus. The RSVP Center operates from a public health model Medical Student Support Services, please visit the School of and uses trauma-informed practices to address the prevalent Medicine website (https://medicine.wustl.edu). issues of relationship and sexual violence. By providing support for affected students, it is our goal to foster post-traumatic Office for International Students and Scholars. If a student is growth and resilience and to help ensure academic retention and joining the university from a country other than the United States, success. Our prevention efforts call for community engagement this office can assist that individual through their orientation to engender an intolerance of violence and an active stance programs, issue certificates of eligibility (visa documents), and toward challenging cultural injustices that perpetuate such provide visa and immigration information. In addition, the office issues. Learn more at the RSVP Center website (https:// provides personal and cross-cultural counseling and arranges rsvpcenter.wustl.edu/). social, cultural and recreational activities that foster international understanding on campus. WashU Cares. WashU Cares assists the university with handling situations involving the safety and well-being of The Office for International Students and Scholars is located on Danforth Campus students. WashU Cares is committed the Danforth Campus in the Danforth University Center at 6475 to fostering student success and campus safety through Forsyth Boulevard, Room 330. The office can be found on the a proactive, collaborative and systematic approach to the Medical Campus in the Mid Campus Center (MCC Building) at identification of, intervention with and support of students of 4590 Children's Place, Room 2043. For more information, visit concern while empowering all university community members to the Office for International Students and Scholars website (http:// create a culture of caring. If there is a concern about the physical oiss.wustl.edu) or call 314-935-5910. or mental well-being of a student, please visit the WashU Cares Office of Military and Veteran Services. This office serves website (https://washucares.wustl.edu/) to file a report. as the university’s focal point for military and veteran matters, The Writing Center. The Writing Center — a free service — including transitioning military-connected students into higher offers writing advice to all Washington University undergraduate education, providing and connecting students with programs and and graduate students. Tutors will read and discuss any kind services, and partnering across campus and in the community. of work in progress, including student papers, senior theses, Services include advising current and prospective students application materials, dissertations and oral presentations. The on how to navigate the university and maximize Department Writing Center staff is trained to work with students at any stage of Defense and Veterans Affairs (VA) educational benefits, of the writing process, including brainstorming, developing and transition support, Veteran Ally training for faculty and staff, clarifying an argument, organizing evidence, and improving style. veteran-unique programming, and connecting students to Rather than editing or proofreading, tutors will emphasize the campus and community resources. Military-connected students process of revision and teach students how to edit their own include veterans, military service members, spouses, dependent work. children, caregivers, survivors and Reserve Officer Training Corp cadets. There are two university policies that apply to students The Writing Center is located in Mallinkrodt Center on the lower who still serve in the Armed Forces and students who use VA level. Appointments (http://writingcenter.wustl.edu) are preferred educational benefits: and can be made online. • The Policy on Military Absences, Refunds and Readmissions Student Health Services, Danforth (https://veterans.wustl.edu/policies/policy-for-military- students/) applies to students serving in the U.S. Armed Campus Forces and their family members when military service The Habif Health and Wellness Center provides medical and forces them to be absent or withdraw from a course of study. mental health care and health promotion for undergraduate and • The Policy on Protections for VA Educational Benefit Users graduate students on the Danforth Campus. Habif staff members (https://veterans.wustl.edu/policies/policy-for-va-students/) include licensed professionals in Medical Services, Mental applies to students using VA education benefits when Health Services and Health Promotion Services. Please visit payments to the institution and the individual are delayed Habif in the lower level of Dardick House on the South 40 or the through no fault of the student. Habif Health and Wellness Center website (http://shs.wustl.edu) for more information about Habif's services and staff members. The Office of Military and Veteran Services is located in Umrath Hall on the Danforth Campus. Please visit the Military and Hours: Veteran Services website (https://veterans.wustl.edu/) or send Monday-Thursday: 8 a.m.-6 p.m. an email to [email protected] for more information. Friday: 9 a.m.-5 p.m. Saturday: 9 a.m.-1 p.m. (urgent medical care only) Relationship and Sexual Violence Prevention (RSVP) Center. The RSVP Center offers free and confidential services including 24/7 crisis intervention, counseling services, resources, support and prevention education for all students on the Danforth
5 Bulletin 2021-22 About Washington University in St. Louis (07/22/21)
A nurse answer line and an after-hours mental health support Mental Health Services staff members work with students to line are available to answer any medical or mental health resolve personal and interpersonal difficulties, including conflicts questions a student may have when Habif is closed. For after- with or worry about friends or family, concerns about eating or hours care, please call 314-935-6666 and follow the prompts. drinking patterns, and feelings of anxiety and depression. Staff members help each person figure out their own situation. Medical Services staff members provide care for the evaluation Services include individual, group and couples counseling; crisis and treatment of an illness or injury, preventive health care counseling; psychiatric consultation; and referral for off-campus and health education, immunizations, nutrition counseling, counseling. Visit the Habif website to schedule an appointment and travel medicine and sexual health services. Habif Health (http://shs.wustl.edu), or call 314-935-6666 during business and Wellness Center providers are participating members of hours. the Washington University in St. Louis Physician's Network. Any condition requiring specialized medical services will be Health Promotion Services staff and Peer Health Educators referred to an appropriate specialist. Habif accepts most health provide free programs and risk reduction information related insurance plans and will be able to bill the plan according to plan to stress, sleep, sexual health, alcohol/other drugs, and benefits. The student health insurance plan requires a referral community care. For more information, visit the Zenker for medical care any time care is not provided at Habif (except in Wellness Suite in Sumers Recreation Center to learn about the an emergency). Call 314-935-6666 or visit the Habif website to programs on campus led by student peer health educators. For schedule an appointment (http://shs.wustl.edu). information, visit the Health and Wellness Digital Library (https:// students.wustl.edu/health-wellness-digital-library/), follow Habif Appointments are also available for the assessment, treatment, on Instagram (https://www.instagram.com/) (@washu_habif), or and referral of students who are struggling with substance email [email protected]. abuse. In 2018, this department launched the WashU Recovery Group Quadrangle Pharmacy, located in the Habif Health and Wellness to provide an opportunity for students in recovery from substance Center, is available to all Washington University students and use to connect with other students with similar experiences. their dependents. The pharmacy accepts most prescription The group provides local resources, support, meetings and insurance plans; students should check with the pharmacist to activities. Members have 24/7 access to a private facility to see if their prescription plan is accepted at the pharmacy. study, meet and socialize (in-person services will resume as The Habif Health and Wellness Center lab provides full COVID-19 pandemic restrictions allow). The group is not a laboratory services. Approximately 20 tests can be performed recovery program; it is a confidential resource that students can in the lab. The remainder of all testing that is ordered by Habif add to their support system. For more information, send an email is completed by LabCorp. LabCorp serves as Habif's reference to [email protected]. lab, and it is a preferred provider on the student health insurance plan. This lab can perform any test ordered by Habif providers or Important Information About Health outside providers. Insurance, Danforth Campus All incoming students must provide proof of immunization Washington University has a student health fee that was for measles, mumps, and rubella (i.e., two vaccinations after designed to improve the health and wellness of the entire the age of one year old; a titer may be provided in lieu of the Washington University community. This fee supports health immunizations). Proof of receiving a meningococcal vaccine is and wellness services and programs on campus. In addition, all required for all incoming undergraduate students. A PPD skin full-time, degree-seeking Washington University students are test in the past six months is required for students entering the automatically enrolled in the Student Health Insurance Plan upon university from certain countries; this list of countries may be completion of registration, with an additional health insurance found on the Habif website. It is also recommended that, during fee applied to their student account. Students may opt out of this the five years before beginning their studies at Washington coverage and receive a refund of the health insurance fee if they University, all students will have received the tetanus diphtheria provide proof of existing comprehensive insurance coverage that immunization, the hepatitis A vaccine series, the hepatitis B meets all university requirements. Information concerning opting vaccine series, and the varicella vaccine. Medical history forms out of the student health insurance plan (http://shs.wustl.edu) (http://shs.wustl.edu) are available online. Failure to complete can be found online after June 1 of each year. All students must the required forms will delay a student's registration and prevent request to opt out by September 5 of every year in which they their entrance into housing assignments. Please visit the Habif wish to be removed from the Student Health Insurance Plan. website for complete information about requirements and Habif provides billing services to many of the major insurance deadlines (http://shs.wustl.edu). companies in the United States. Specific fees and copays apply
6 Bulletin 2021-22 About Washington University in St. Louis (07/22/21)
to students using Medical Services and Mental Health Services; to download and install the WashU Safe personal safety app these fees may be billable to the students' insurance plans. More on their phones; this app allows users to call for help during information is available on the Habif Health and Wellness Center emergencies, to use Friend Walk to track their walks on and website (http://shs.wustl.edu). off campus, and to access many additional safety features. For more information about these programs, visit the Washington Student Health Services, Medical University Police Department website (https://police.wustl.edu/). Campus In compliance with the Campus Crime Awareness and Security For information about student health services on the Medical Act of 1990, Washington University publishes an annual report Campus, please visit the Student & Occupational Health (http://police.wustl.edu/clery-reports-logs/) entitled Safety & Services page (https://wusmhealth.wustl.edu/students/) of the Security: Guide for Students, Faculty, and Staff — Annual School of Medicine website. Campus Security and Fire Safety Reports and Drug & Alcohol Abuse Prevention Program. This report is available to all Campus Security current and prospective students on the Danforth Campus and to university employees on the Danforth, North and West The Washington University campus is among the most attractive campuses. To request a hard copy, contact the Washington in the nation, and it enjoys a safe and relaxed atmosphere. University Police Department, CB 1038, One Brookings Drive, Personal safety and the security of personal property while on St. Louis, MO 63130-4899, 314-935-9011. campus is a shared responsibility. Washington University has made safety and security a priority through our commitment to For information regarding protective services at the a full-time professional police department, the use of closed- School of Medicine, please visit the Security page (https:// circuit television, card access, good lighting, shuttle services, facilities.med.wustl.edu/security/) of the Washington University emergency telephones, and ongoing educational safety Operations & Facilities Management Department. awareness programs. The vast majority of crimes that occur on college campuses are crimes of opportunity, which can be University Policies prevented. Washington University has various policies and procedures The best protection against crime is an informed and alert that govern our faculty, staff and students. Highlighted below campus community. Washington University has developed are several key policies of the university. Web links to key several programs to help make everyone's experiences policies and procedures are available on the Office of the here safe and secure. An extensive network of emergency University Registrar website (http://registrar.wustl.edu) and on telephones — including more than 200 "blue light" telephones — the university's Compliance and Policies page (http://wustl.edu/ is connected directly to the University Police Department and policies/). Please note that the policies identified on these can alert the police to a person's exact location. In addition to the websites and in this Bulletin do not represent an entire repository regular shuttle service, an evening walking escort service and a of university policies, as schools, offices and departments may mobile Campus Circulator shuttle are available on the Danforth implement policies that are not listed. In addition, policies may be Campus. amended throughout the year. The Campus2Home shuttle will provide a safe ride home for Nondiscrimination Statement those living in four designated areas off campus — Skinker- DeBaliviere, Loop South, north of the Loop, and just south of the Washington University encourages and gives full consideration campus — from 6:00 p.m. to 4:00 a.m. seven days a week. The to all applicants for admission, financial aid and employment. shuttle leaves from the Mallinckrodt Center every 15 minutes and The university does not discriminate in access to, treatment takes passengers directly to the front doors of their buildings. during, or employment in its programs and activities on the basis Shuttle drivers will then wait and watch to make sure passengers of race, color, age, religion, sex, sexual orientation, gender get into their buildings safely. Community members can track the identity or expression, national origin, veteran status, disability or shuttle in real time using the WUSTL Mobile App. The app can genetic information. be downloaded free of charge from the Apple iTunes Store or the Policy on Discrimination and Google Play Store. Harassment The University Police Department is a full-service organization staffed by certified police officers who patrol the campus 24 Washington University is committed to having a positive learning hours a day throughout the entire year. The department offers a and working environment for its students, faculty and staff. variety of crime prevention programs, including a high-security University policy prohibits discrimination on the basis of race, bicycle lock program, free personal-safety whistles, computer color, age, religion, sex, sexual orientation, gender identity or security tags, personal safety classes for women and men, expression, national origin, veteran status, disability or genetic and security surveys. Community members are encouraged information. Harassment based on any of these classifications
7 Bulletin 2021-22 About Washington University in St. Louis (07/22/21)
is a form of discrimination; it violates university policy and will policies and procedures concerning the conduct of faculty, not be tolerated. In some circumstances, such discriminatory staff and students. This policy is adopted in accordance with harassment may also violate federal, state or local law. A copy of the Drug-Free Workplace Act and the Drug-Free Schools and the Policy on Discrimination and Harassment (http://hr.wustl.edu/ Communities Act. policies/Pages/DiscriminationAndHarassment.aspx) is available on the Human Resources website. Tobacco-Free Policy Sexual Harassment Washington University is committed to providing a healthy, comfortable and productive work and learning environment for Sexual harassment is a form of discrimination that violates all students, faculty and staff. Research shows that tobacco use university policy and will not be tolerated. It is also illegal under in general, including smoking and breathing secondhand smoke, state and federal law. Title IX of the Education Amendments of constitutes a significant health hazard. The university strictly 1972 prohibits discrimination based on sex (including sexual prohibits all smoking and other uses of tobacco products within harassment and sexual violence) in the university's educational all university buildings and on university property, at all times. A programs and activities. Title IX also prohibits retaliation for copy of our complete Tobacco-Free Policy (https://hr.wustl.edu/ asserting claims of sex discrimination. The university has items/tobacco-free-policy/) is available on the Human Resources designated the Title IX Coordinator identified below to coordinate website. its compliance with and response to inquiries concerning Title IX. Medical Examinations For more information or to report a violation under the Policy on Discrimination and Harassment, please contact the following Entering students must provide medical information to the Habif individuals: Health and Wellness Center. This will include the completion of a health history and a record of all current immunizations. Discrimination and Harassment Response Coordinator If students fail to comply with these requirements prior to Apryle Cotton, Assistant Vice Chancellor for Human registration, they will be required to obtain vaccinations Resources for measles, mumps and rubella at the Habif Health and Section 504 Coordinator Wellness Center, if there is no evidence of immunity. In Phone: 314-362-6774 addition, undergraduate students will be required to obtain [email protected] meningitis vaccinations. Students will be assessed the cost of Title IX Coordinator the vaccinations. Students will be unable to complete registration for classes until all health requirements have been satisfied. Jessica Kennedy, Director of Title IX Office Title IX Coordinator Noncompliant students may be barred from classes and from all Phone: 314-935-3118 university facilities, including housing units, if in the judgment of [email protected] the university their continued presence would pose a health risk to themselves or to the university community. You may also submit inquiries or a complaint regarding civil rights to the United States Department of Education's Office Medical and immunization information is to be given via the Habif of Civil Rights at 400 Maryland Avenue, SW, Washington, DC Health and Wellness Center (https://students.wustl.edu/ 20202-1100; by visiting the U.S. Department of Education habif-health-wellness-center/) website. All students who have website (https://www.ed.gov/); or by calling 800-421-3481. completed the registration process should access the website and create a student profile by using their WUSTL Key. Creating Student Health a student profile enables a student to securely access the medical history form. Students should fill out the form and Drug and Alcohol Policy follow the instructions for transmitting it to the Habif Health and Washington University is committed to maintaining a safe and Wellness Center. Student information is treated securely and healthy environment for members of the university community confidentially. by promoting a drug-free environment as well as one free of the abuse of alcohol. Violations of the Washington University Student Conduct Drug and Alcohol Policy (https://hr.wustl.edu/items/drug-and- The Student Conduct Code sets forth community standards alcohol-policy/) or the Alcohol Policy for Graduate Student and expectations for Washington University students. These Organizations (https://sites.wustl.edu/prograds/university-wide- community standards and expectations are intended to foster graduate-student-group-handbook/alcohol-policy-for-graduate- an environment conducive to learning and inquiry. Freedom of student-organizations/) will be handled according to existing thought and expression is essential to the university's academic mission.
8 Bulletin 2021-22 About Washington University in St. Louis (07/22/21)
Disciplinary proceedings are meant to be informal, fair and Violations of This Policy Include but Are expeditious. Charges of non-serious misconduct are generally Not Limited to the Following: heard by the student conduct officer. With limited exceptions, serious or repeated allegations are heard by the campuswide 1. Plagiarism Student Conduct Board or the University Sexual Assault Plagiarism consists of taking someone else's ideas, words Investigation Board where applicable. or other types of work product and presenting them as one's own. To avoid plagiarism, students are expected Complaints against students that include allegations of sexual to be attentive to proper methods of documentation and assault or certain complaints that include allegations of sexual acknowledgment. To avoid even the suspicion of plagiarism, harassment in violation of the Student Conduct Code are a student must always do the following: governed by the procedures found in the University Sexual • Enclose every quotation in quotation marks and Assault Investigation Board Policy (https://wustl.edu/about/ acknowledge its source. compliance-policies/governance/usaib-procedures-complaints- • Cite the source of every summary, paraphrase, sexual-assault-filed-students/), which is available online or in abstraction or adaptation of material originally prepared hard copy from the Title IX coordinator or the director of Student by another person and any factual data that is not Conduct and Community Standards. considered common knowledge. Include the name of Students may be accountable to both governmental authorities author, title of work, publication information and page and to the university for acts that constitute violations of law and reference. the Student Conduct Code. • Acknowledge material obtained from lectures, interviews For a complete copy of the Student Conduct Code (https:// or other oral communication by citing the source (i.e., the wustl.edu/about/compliance-policies/academic-policies/ name of the speaker, the occasion, the place and the university-student-judicial-code/), visit the university website. date). • Cite material from the internet as if it were from a Undergraduate Student Academic traditionally published source. Follow the citation style Integrity Policy or requirements of the instructor for whom the work is produced. Effective learning, teaching and research all depend upon the 2. Cheating on an Examination ability of members of the academic community to trust one A student must not receive or provide any unauthorized another and to trust the integrity of work that is submitted for assistance on an examination. During an examination, a academic credit or conducted in the wider arena of scholarly student may use only materials authorized by the faculty. research. Such an atmosphere of mutual trust fosters the free exchange of ideas and enables all members of the community to 3. Copying or Collaborating on Assignments Without achieve their highest potential. Permission When a student submits work with their name on it, this is In all academic work, the ideas and contributions of others must a written statement that credit for the work belongs to that be appropriately acknowledged, and work that is presented student alone. If the work was a product of collaboration, as original must be, in fact, original. Faculty, students and each student is expected to clearly acknowledge in writing all administrative staff all share the responsibility of ensuring persons who contributed to its completion. the honesty and fairness of the intellectual environment at Unless the instructor explicitly states otherwise, it is Washington University. dishonest to collaborate with others when completing any Scope and Purpose assignment or test, performing laboratory experiments, writing and/or documenting computer programs, writing This statement on academic integrity applies to all papers or reports, or completing problem sets. undergraduate students at Washington University. Graduate If the instructor allows group work in some circumstances but students are governed by policies in each graduate school or not others, it is the student's responsibility to understand the division. All students are expected to adhere to the highest degree of acceptable collaboration for each assignment and standards of behavior. The purpose of the statement is twofold: to ask for clarification, if necessary. 1. To clarify the university's expectations with regard to To avoid cheating or unauthorized collaboration, a student undergraduate students' academic behavior; and should never do any of the following: 2. To provide specific examples of dishonest conduct. The examples are only illustrative, not exhaustive.
9 Bulletin 2021-22 About Washington University in St. Louis (07/22/21)
• Use, copy or paraphrase the results of another person's This list is not intended to be exhaustive. To seek clarification, work and represent that work as one's own, regardless students should ask the professor or the assistant in instruction of the circumstances. for guidance. • Refer to, study from or copy archival files (e.g., old tests, Reporting Misconduct homework, solutions manuals, backfiles) that were not approved by the instructor. Faculty Responsibility • Copy another's work or permit another student to copy Faculty and instructors are strongly encouraged to report one's work. incidents of student academic misconduct to the academic • Submit work as a collaborative effort if they did not integrity officer in their school or college in a timely manner so contribute a fair share of the effort. that the incident may be handled fairly and consistently across 4. Fabrication or Falsification of Data or Records schools and departments. Assistants in instruction are expected It is dishonest to fabricate or falsify data in laboratory to report instances of student misconduct to their supervising experiments, research papers or reports or in any other instructors. Faculty members are expected to respond to student circumstances; to fabricate source material in a bibliography concerns about academic dishonesty in their courses. or "works cited" list; or to provide false information on a Student Responsibility résumé or other document in connection with academic efforts. It is also dishonest to take data developed by If a student observes others violating this policy, the student is someone else and present them as one's own. strongly encouraged to report the misconduct to the instructor, Examples of falsification include the following: to seek advice from the academic integrity officer of the school • Altering information on any exam, problem set or class or college that offers the course in question, or to address the assignment being submitted for a re-grade. student(s) directly. • Altering, omitting or inventing laboratory data to submit Exam Proctor Responsibility as one's own findings. This includes copying laboratory Exam proctors are expected to report incidents of suspected data from another student to present as one's own; student misconduct to the course instructor and/or the Disability modifying data in a write-up; and providing data to Resource Center, if applicable. another student to submit as one's own. 5. Other Forms of Deceit, Dishonesty or Inappropriate Procedure Conduct Jurisdiction Under no circumstances is it acceptable for a student to do any of the following: This policy covers all undergraduate students, regardless of • Submit the same work, or essentially the same work, their college of enrollment. Cases will be heard by school- for more than one course without explicitly obtaining specific committees according to the school in which the class is permission from all instructors. A student must disclose listed rather than the school in which the student is enrolled. All when a paper or project builds on work completed earlier violations and sanctions will be reported to the student's college in their academic career. of enrollment. • Request an academic benefit based on false information Administrative Procedures or deception. This includes requesting an extension Individual undergraduate colleges and schools may design of time, a better grade or a recommendation from an specific procedures to resolve allegations of academic instructor. misconduct by students in courses offered by that school, so • Make any changes (including adding material or erasing long as the procedures are consistent with this policy and with material) on any test paper, problem set or class the Student Conduct Code. assignment being submitted for a re-grade. • Willfully damage the efforts or work of other students. Student Rights and Responsibilities in a • Steal, deface or damage academic facilities or materials. Hearing • Collaborate with other students planning or engaging in A student accused of an academic integrity violation — whether any form of academic misconduct. by a professor, an assistant in instruction, an academic integrity • Submit any academic work under someone else's name officer or another student — is entitled to do the following: other than one's own. This includes but is not limited to sitting for another person's exam; both parties will be held responsible. • Engage in any other form of academic misconduct not covered here.
10 Bulletin 2021-22 About Washington University in St. Louis (07/22/21)
• Review the written evidence in support of the charge • Recommend to the instructor that the student receive a • Ask any questions course grade penalty less severe than failure of the course • Offer an explanation as to what occurred • Place the student on disciplinary probation for a specified • Present any material that would cast doubt on the period of time or until defined conditions are met. The correctness of the charge probation will be noted on the student's transcript and internal record while it is in force. • Receive a determination of the validity of the charge without reference to any past record of misconduct • In cases serious enough to warrant suspension or expulsion from the university, refer the matter to the Student Conduct When responding to a charge of academic misconduct, a student Board for consideration. may do the following: Additional educational sanctions may be imposed. This list is not • Deny the charges and request a hearing in front of the intended to be exhaustive. appropriate academic integrity officer or committee Withdrawing from the course will not prevent the academic • Admit the charges and request a hearing to determine integrity officer or hearing panel from adjudicating the case, sanction(s) imposing sanctions or recommending grade penalties, including • Admit the charges and accept the imposition of sanctions a failing grade in the course. without a hearing A copy of the sanction letter will be placed in the student's • Request a leave of absence from the university (however, academic file. the academic integrity matter must be resolved prior to re- enrollment) Appeals • Request to withdraw permanently from the university with If a student believes the academic integrity officer or the a transcript notation that there is an unresolved academic committee did not conduct a fair hearing or if a student believes integrity matter pending the sanction imposed for misconduct is excessive, they may A student has the following responsibilities with regard to appeal to the Student Conduct Board within 14 days of the resolving the charge of academic misconduct: original decision. Appeals are governed by Section VII C of the Student Conduct Code. • Admit or deny the charge. This will determine the course of action to be pursued. Records • Provide truthful information regarding the charges. It is a Student Conduct Code violation to provide false information Administrative Record-Keeping to the university or anyone acting on its behalf. Responsibilities It is the responsibility of the academic integrity officer in each Sanctions school to keep accurate, confidential records concerning If Found Not in Violation of the Academic academic integrity violations. When a student has been found to Integrity Policy have acted dishonestly, a letter summarizing the allegation, the outcome and the sanction shall be placed in the student's official If the charges of academic misconduct are not proven, no record file in the office of the school or college in which the student is of the allegation will appear on the student's transcript. enrolled. If Found in Violation of the Academic In addition, each school's academic integrity officer shall make Integrity Policy a report of the outcome of every formal accusation of student If, after a hearing, a student is found to have acted dishonestly academic misconduct to the director of Student Conduct and or if a student has admitted to the charges prior to a hearing, Community Standards, who shall maintain a record of each the school's academic integrity officer or committee may impose incident. sanctions, including but not limited to the following: Multiple Offenses • Issue a formal written reprimand When a student is formally accused of academic misconduct • Impose educational sanctions, such as completing a and a hearing is to be held by an academic integrity officer, a workshop on plagiarism or academic ethics committee, or the Office of Student Conduct and Community • Recommend to the instructor that the student fail the Standards, the person in charge of administering the hearing assignment (a given grade is ultimately the prerogative of the shall query the Office of Student Conduct and Community instructor) Standards about the student(s) accused of misconduct. The director shall provide any information in the records concerning • Recommend to the instructor that the student fail the course that student to the integrity officer. Such information will be
11 Bulletin 2021-22 About Washington University in St. Louis (07/22/21)
used in determining sanctions only if the student is found to Board (https://www.collegeboard.org/), the Hispanic Association have acted dishonestly in the present case. Evidence of past of Colleges & Universities (HACU (https://www.hacu.net/)), misconduct may not be used to resolve the issue of whether a the Independent Colleges and Universities of Missouri (ICUM student has acted dishonestly in a subsequent case. (https://www.independentcollegesanduniversitiesofmo.com/)), the National Association of Independent Colleges and Reports to Faculty and Student Body Universities (NAICU (https://www.naicu.edu/)), the National School and college academic integrity officers are encouraged Council for State Authorization Reciprocity Agreements (NC- to make periodic (at least annual) reports to the students and SARA (https://nc-sara.org/)), the Oak Ridge Associated faculty of their school concerning accusations of academic Universities (ORAU (https://www.orau.org/)), and the University misconduct and the outcomes, without disclosing specific Research Association (URA (https://www.ura-hq.org/)). information that would allow identification of the student(s) The College of Arts & Sciences is a member of the American involved. Association of Collegiate Registrars and Admissions Officers Graduate Student Academic (AACRAO (https://www.aacrao.org/)), the International Center for Academic Integrity (ICAI (https://www.academicintegrity.org/)), Integrity Policies the National Association of Fellowships Advisors (NAFA (https:// For graduate student academic integrity policies, please refer to nafadvisors.org/)), the National Association of Advisors for each individual graduate school. Health Professions (NAAHP (https://www.naahp.org/)), the Midwest Association of Pre-Law Advisors (MAPLA (https:// Statement of Intent to Graduate mapla.org/)), the North American Association of Summer Sessions (NAASS (https://naass.org/)), and the Association of Students are required to file an Intent to Graduate at WebSTAC University Summer Sessions (AUSS (https://www.theauss.org/)). (https://acadinfo.wustl.edu/) prior to the semester in which they intend to graduate. Additional information is available from The College of Architecture was one of the eight founding school dean's offices and the Office of the University Registrar members of the Association of Collegiate Schools of Architecture (http://registrar.wustl.edu). (ACSA (https://www.acsa-arch.org/)) in 1912. Student Academic Records and The Graduate School is a founding member of both the Association of Graduate Schools (AGS (https://www.aau.edu/ Transcripts taxonomy/term/446/)) and the Council of Graduate Schools Under the Family Educational Rights and Privacy Act of 1974 (CGS (https://cgsnet.org/)). (FERPA) — Title 20 of the United States Code, Section 1232g, The Graduate School of Architecture & Urban Design's Master as amended — current and former students of the university of Architecture degree is accredited by the National Architectural have certain rights with regard to their educational records. Accreditation Board (NAAB (https://www.naab.org/)), and its The university policy that enacts these rights is available Master of Landscape Architecture degree is accredited by the via the Office of the University Registrar's website (http:// Landscape Architectural Accreditation Board (LAAB (https:// registrar.wustl.edu). www.asla.org/accreditationlaab.aspx)). All current and former students request transcripts via either The Sam Fox School of Design & Visual Arts is a founding WebSTAC (if they remember their WUSTL Key) or Parchment member of and accredited by the National Association of (if they do not have or cannot remember their WUSTL Key). Schools of Art and Design (NASAD (https://nasad.arts- Instructions and additional information are available on the Office accredit.org/)). of the University Registrar's website (http://registrar.wustl.edu). The Olin Business School is a charter member (1921) of and University Affiliations accredited by the Association to Advance Collegiate Schools of Business International (AACSB (https://www.aacsb.edu/)). Olin Washington University is accredited by the Higher Business School is also accredited by the Association of MBAs Learning Commission (https://www.hlcommission.org/) (AMBA (https://www.associationofmbas.com/)). (800-621-7440). Washington University is a member of the American Academy of Arts & Sciences (AAAS (https:// In the McKelvey School of Engineering, many of the professional www.amacad.org/)), the American Association of University degrees are accredited by the Engineering Accreditation Women (AAUW (https://www.aauw.org/)), the American Commission of ABET (http://abet.org). Council of Learned Societies (ACLS (https://www.acls.org/)), University College is a member of the University Professional the American Council on Education (ACE (https:// and Continuing Education Association (UPCEA (https:// www.acenet.edu/)), the Association of American Colleges & upcea.edu/)), the International Center for Academic Integrity Universities (AACU (https://www.aacu.org/)), the Association of (ICAI (https://www.academicintegrity.org/)), the American American Universities (AAU (https://www.aau.edu/)), the College Association of Collegiate Registrars and Admissions Officers
12 Bulletin 2021-22 About Washington University in St. Louis (07/22/21)
(AACRAO (https://www.aacrao.org/)), the National Academic Advising Association (NACADA (https://nacada.ksu.edu/)), the National Association of Advisors for Health Professions (NAAHP (https://www.naahp.org/)), and the National Association Student Personnel Administrators (NASPA (https://www.naspa.org/)). Business-related programs in University College are not accredited by the Association to Advance Collegiate Schools of Business International (AACSB (https://www.aacsb.edu/)). The School of Law is accredited by the American Bar Association (ABA (https://www.americanbar.org/)). The School of Law is a member of the Association of American Law Schools (AALS (https://www.aals.org/)), the American Society of Comparative Law (ASCL (https://ascl.org/)), the Clinical Legal Education Association (CLEA (https:// www.cleaweb.org/)), the Southeastern Association of Law Schools (SEALS (https://sealslawschools.org/)), the Central States Law Schools Association (CSLSA (http://cslsa.us/)), the Mid-America Law Library Consortium (MALLCO (https:// mallco.libguides.com/)), the American Association of Law Libraries (AALL (https://www.aallnet.org/)), the American Society of International Law (ASIL (https://www.asil.org/)), the Mid-America Association of Law Libraries (MAALL (https:// maall.wildapricot.org/)), the National Association for Law Placement (NALP (https://www.nalp.org/)), and Equal Justice Works (https://www.equaljusticeworks.org/). The School of Medicine is a member of the Liaison Committee on Medical Education (LCME (https://www.aamc.org/services/ first-for-financial-aid-officers/lcme-accreditation/)). The Brown School at Washington University is accredited by the Council on Social Work Education (CSWE (https:// www.cswe.org/)) and the Council on Education for Public Health (CEPH (https://ceph.org/)). The University Libraries are a member of the Association of Research Libraries (ARL (https://www.arl.org/)). The Mildred Lane Kemper Art Museum is nationally accredited by the American Alliance of Museums (AAM (https://www.aam- us.org/)). Additional information about professional and specialized accreditation can be found on the Office of the Provost website (https://provost.wustl.edu/assessment/accreditors/).
13 Bulletin 2021-22 Graduate School of Art (07/22/21)
Graduate School of Faculty Endowed Professors Art Michael Byron (http://samfoxschool.wustl.edu/portfolios/ faculty/michael_byron/) The Graduate School of Art confers the terminal professional Kenneth E. Hudson Professor of Art Master of Fine Arts in Illustration & Visual Culture and the Master MFA, Nova Scotia College of Art and Design of Fine Arts in Visual Arts as set forth and accredited by the College Art Association of America and the National Association Carmon Colangelo (http://samfoxschool.wustl.edu/ of Schools of Art and Design. portfolios/faculty/carmon_colangelo/) E. Desmond Lee Professor for Collaboration in the Arts The residence requirement for the Master of Fine Arts degree MFA, Louisiana State University is at least two years of full-time study (minimum 15 units each semester). Students work closely with faculty advisers to explore Heather Corcoran (http://samfoxschool.wustl.edu/portfolios/ individual interests within the Sam Fox School and the larger faculty/heather_corcoran/) university. Halsey C. Ives Professor MFA, Yale University School of Art The MFA in Illustration & Visual Culture (IVC) (https:// www.mfaivc.samfoxschool.wustl.edu/about/) explores the idea Amy Hauft (https://samfoxschool.wustl.edu/portfolios/amy- of illustration and authorship by combining student practice hauft/) in illustration and cartooning with curatorial training in visual Jane Reuter Hitzeman and Herbert F. Hitzeman Jr. Professor of and material culture. The program is built on the strengths Art and expertise of the Sam Fox School's illustration and design MFA, School of the Art Institute of Chicago faculty and the vast visual resources of Washington University, Patricia Olynyk (http://samfoxschool.wustl.edu/portfolios/ including the D. B. Dowd Modern Graphic History Library (https:// faculty/patricia_olynyk/) library.wustl.edu/collecting-area/mghl/), a permanent site for Florence and Frank Bush Professor of Art studying the history and culture of American illustration. MFA, California College of the Arts The MFA in Visual Art (https://samfoxschool.wustl.edu/programs/ Professors mfa-va/) educates artists who will define and change the future of their disciplines. It instills students with the agency and Lisa Bulawsky (http://samfoxschool.wustl.edu/portfolios/ resiliency that will be essential to the next generation of artists. faculty/lisa_bulawsky/) The program is home to an inclusive, close-knit community of MFA, University of Kansas renegade makers and thinkers, and it offers students a site D.B. Dowd (http://samfoxschool.wustl.edu/portfolios/faculty/ of rigorous inquiry, humanity, and intellectual generosity. As db_dowd/) part of Washington University, a tier-one research institution, MFA, University of Nebraska–Lincoln the School’s expansive facilities and studios serve as a think tank for intellectual and material experimentation. The Sam Fox John Hendrix (http://samfoxschool.wustl.edu/portfolios/ School’s MFA in Visual Art professionally prepares students faculty/john_hendrix/) for a diversified approach to the field of contemporary art that MFA, School of Visual Art nurtures sustained, lifelong engagement while recognizing Jeff Pike (http://samfoxschool.wustl.edu/portfolios/faculty/ multiple pathways and definitions for a career in the arts and jeff_pike/) culture. MFA, Syracuse University Contact Information Tim Portlock (http://samfoxschool.wustl.edu/portfolios/ tim_portlock/) Graduate School of Art MFA, University of Illinois CB 1213 One Brookings Drive Jack Risley (https://samfoxschool.wustl.edu/portfolios/ St. Louis, MO 63130-4899 jack_risley/) Phone: 314-935-8423 MFA, Yale University School of Art Contact Form (http://samfoxschool.wustl.edu/gradart_contact/) Denise D. Ward-Brown (http://samfoxschool.wustl.edu/ portfolios/faculty/denise_ward_brown/) Email: [email protected] MFA, Howard University Website: https://samfoxschool.wustl.edu/ node/4145
14 Bulletin 2021-22 Graduate School of Art (07/22/21)
Associate Professors Jennifer Colten (http://samfoxschool.wustl.edu/portfolios/ faculty/jennifer_colten_schmidt/) Jamie Adams (http://www.samfoxschool.wustl.edu/ MFA, Massachusetts College of Art portfolios/faculty/jamie_adams/) MFA, Pennsylvania Academy of Fine Arts John Early (https://samfoxschool.wustl.edu/portfolios/ john_early/) Jonathan Hanahan (http://samfoxschool.wustl.edu/ MFA, Washington University portfolios/jonathan_hanahan/) MFA, Rhode Island School of Design Audra Hubbell (https://samfoxschool.wustl.edu/ directory/12365/) Richard Krueger (http://samfoxschool.wustl.edu/portfolios/ MFA, University of Illinois at Chicago faculty/richard_krueger/) MFA, University of Notre Dame Jennifer Ingram (http://samfoxschool.wustl.edu/ directory/6509/) Arny Nadler (http://samfoxschool.wustl.edu/portfolios/ MS, Iowa State University-Des Moines faculty/arny_nadler/) MFA, Cranbrook Academy of Art Noah Kirby (http://samfoxschool.wustl.edu/directory/517/) MFA, Washington University Mary Ruppert-Stroescu (http://samfoxschool.wustl.edu/ portfolios/mary_ruppert-stroescu/) Becca Leffell Koren (https://samfoxschool.wustl.edu/ PhD, University of Missouri-Columbia directory/12181/) MFA, Rhode Island School of Design Aggie Toppins (https://samfoxschool.wustl.edu/portfolios/ aggie_toppins/) Jon Navy (http://samfoxschool.wustl.edu/directory/527/) MFA, Maryland Institute College of Art MFA, School of the Art Institute of Chicago Cheryl Wassenaar (http://samfoxschool.wustl.edu/ Tom Reed (http://samfoxschool.wustl.edu/portfolios/ portfolios/faculty/cheryl_wassenaar/) tom_reed/) MFA, University of Cincinnati MFA, University of Iowa Monika Weiss (http://samfoxschool.wustl.edu/portfolios/ Linda Solovic (http://samfoxschool.wustl.edu/portfolios/ faculty/monika_weiss/) faculty/linda_solovic/) MFA, Academy of Fine Arts, Warsaw BFA, Washington University Assistant Professors Lindsey Stouffer (http://samfoxschool.wustl.edu/portfolios/ faculty/lindsey_stouffer/) Chrissi Cowhey (http://samfoxschool.wustl.edu/portfolios/ MFA, Washington University chrissi_cowhey/) MFA, Rhode Island School of Design Claire Thomas-Morgan (http://samfoxschool.wustl.edu/ portfolios/12511/) Meghan Kirkwood (http://samfoxschool.wustl.edu/portfolios/ MFA, Academy of Art University meghan_kirkwood/) MFA, Tulane University Artist in Residence PhD, University of Florida Vidhya Nagarajan Heidi Kolk (https://samfoxschool.wustl.edu/portfolios/ Louis D. Beaumont Artist in Residence heidi_kolk/) MFA, School of Visual Arts PhD, Washington University Professors Emeriti Shreyas R. Krishnan (https://samfoxschool.wustl.edu/ Sarah Birdsall portfolios/shreyas_r_krishnan/) MFA, Maryland Institute College of Art Ken Botnick Penina Acayo Laker (http://samfoxschool.wustl.edu/ Ron Fondaw portfolios/penina_acayo/) Joan Hall MFA, Kent State University Ronald A. Leax Senior Lecturers Peter Marcus Heather Bennett (https://samfoxschool.wustl.edu/portfolios/ Hylarie M. McMahon heather_bennett/) MFA, Hunter College Franklin Oros
15 Bulletin 2021-22 Graduate School of Art (07/22/21)
Robert Smith F10 ART 542 Graduate Studio Graduate studio work emphasizes individual development Buzz Spector through a mix of independent study and activities structured Stan Strembicki around shared student and faculty interests. The direction of student artwork is determined through consultation with Robin VerHage faculty, and faculty act as guides to realize objectives set by the student. Faculty provide critical commentary through ongoing Courses dialogue with students and facilitate dialogue expanded by group critiques, contact with visiting artists, and museum and gallery • F10 Art: Art foundation and major studio courses trips. Graduate students are encouraged to explore traditional and experimental approaches to art making. • F20 Art: Art elective courses Credit 10 units. EN: H
F10 Art F10 ART 542A Graduate Studio Graduate studio work emphasizes individual development Visit online course listings to view semester offerings for through a mix of independent study and activities structured F10 ART (https://courses.wustl.edu/CourseInfo.aspx? around shared student and faculty interests. The direction of student artwork is determined through consultation with sch=F&dept=F10&crslvl=5:6). faculty, and faculty act as guides to realize objectives set by the student. Faculty provide critical commentary through ongoing dialogue with students and facilitate dialogue expanded by group F10 ART 541 Graduate Studio critiques, contact with visiting artists, and museum and gallery Graduate studio work emphasizes individual development trips. Graduate students are encouraged to explore traditional through a mix of independent study and activities structured and experimental approaches to art making. around shared student and faculty interests. The direction Credit 9 units. EN: H of student artwork is determined through consultation with faculty, and faculty act as guides to realize objectives set by the student. Faculty provide critical commentary through ongoing F10 ART 543B Group Critique dialogue with students and facilitate dialogue expanded by group The foundation of the MFA-VA experience is the production critiques, contact with visiting artists, and museum and gallery of artwork in the context of dialogue and critique within a trips. Graduate students are encouraged to explore traditional community of peers. Group Critique generates a dynamic and experimental approaches to art making. forum for multiple voices to merge into conversation. This Credit 10 units. EN: H course develops a student's ability to assess, contextualize, and discuss artworks at a professional level. It provides a space for debate, questioning, agreement, disagreement, inspiration, and F10 ART 541A Graduate Studio discovery. During class sessions, first- and second-year MFA- Graduate studio work emphasizes individual development VA students participate in mixed groups, engaging in rigorous through a mix of independent study and activities structured peer review of finished work. Group members are encouraged around shared student and faculty interests. The direction to develop philosophical or cultural positions as they consider of student artwork is determined through consultation with their own work and that of their peers. Faculty support this effort faculty, and faculty act as guides to realize objectives set by the by offering methods for catalyzing further discussions. Input in student. Faculty provide critical commentary through ongoing critiques may be augmented by visiting artists and curators, who, dialogue with students and facilitate dialogue expanded by group in concert with MFA-VA faculty, introduce an array of critique critiques, contact with visiting artists, and museum and gallery methodologies. trips. Graduate students are encouraged to explore traditional Credit 4 units. and experimental approaches to art making. Credit 9 units. F10 ART 553 A Context for Artmaking This seminar provides various historical and critical contexts F10 ART 541B Graduate Studio in which to place contemporary creative work. Discussions Graduate Studio acts as a conduit between the forming of will focus on the aesthetic, social, political, and economic artistic intention and the work that is made; it is the when and implications of creative production and reveal the intentions and the where of an artist's immersion in the process of research strategies artists employ in their work. and making. Graduate Studio requires the very highest level of Credit 3 units. EN: H focus and productivity. The deeper the investigation of ideas and materials, the more productive the artistic outcome. Credit units in Graduate Studio form a core component of the MFA program F10 ART 553A First-Year Colloquium in which students accomplish their creative work, guided by their This seminar serves as a primer for graduate study in faculty mentor and other faculty within the program and beyond, contemporary art. It introduces MFA in Visual Art students to as well as by visiting artists and critics who conduct studio visits one another; to the MFA-VA program, the Sam Fox School, the and individual critiques. Kemper Art Museum, and the university; and to the city of St. Credit 4 units. Louis. Through weekly meetings that include guest lectures, readings, discussions, and short writing assignments, the course acts as a platform for critically engaging with a wide range of artistic practices and their role in contemporary culture. These activities support students in identifying their particular interests and evolving artistic positions in relation to their studio
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practice. The course includes field trips and introductions to local institutions, and it builds pathways for crossdisciplinary work. F10 ART 572 Literatures of Drawing Each year, the current recipient of the Henry L. and Natalie E. This theoretically oriented seminar course covers drawing, Freund Teaching Fellowship teaches a portion of the seminar. printing, and cultural form, focusing on ideologies of illustration Credit 3 units. and cartooning as well as problems of visual representation, broadly speaking. Complementary focus will be placed on F10 ART 554 A Context for Artmaking the portrayals of illustrators and cartoonists in literature and Continuation of F10 553. This course provides graduate students film to explore the complicated cultural status of the people with a historical and critical context in which to place their work. who produce such work. Students will produce critical and Among other topics, discussions will focus on "definitions" of art, argumentative writing and conduct research in the D.B. Dowd on the political implications of art production and criticism, and Modern Graphic History Library collections. on the position of the artist in relation to cultural and economic Credit 3 units. powers. Preparation and participation in the meetings will be crucial to the success of this seminar as conversations will F10 ART 573 Special Collections: Practice & Purpose always ask how the student's own work relates to the larger This course is an introduction to the theoretical foundations, history of contemporary art. The two essays that constitute practice, and profession of special collections and archives, the writing requirements for the course — one due at midterm with a focus on the diverse holdings of Washington University and another written within the exam period at the end of the Libraries' Special Collections, including the D.B. Dowd Modern semester — will synthesize readings, discussions and students' Graphic History Library. Course topics will include the core own research in answering the same question. The seminar concepts and values related to the access, design, curation, meets throughout the academic year, and the syllabus will preservation, and stewardship of visual materials. Through remain flexible to allow for meetings with visiting artists and discussions and hands-on activities, students will explore the members of the faculty of the Graduate School of Art. Part 2 processing, cataloging, and digitization of visual materials, of 2. Prerequisites: first-year MFA student standing; F10 553. offering them an opportunity to put theory into practice in special Graduate School of Art majors only. collections and archives. Credit 3 units. EN: H Credit 3 units.
F10 ART 561 Illustration Studio 1: Drawing and Voice F10 ART 574 Special Collections: Exhibition & Engagement This course provides a thorough exploration of drawing for This course focuses on the development, planning and mounting communicative purposes, stretching from ideation to storytelling of exhibitions, which serve as a critical form of scholarly to authorship of text and image. Students will create single engagement and a vehicle for collection engagement in special images and sequences, explore reproduction and multiplicity, collections practice. Students will learn underlying theories that and develop a sketchbook practice. In the process, students guide exhibition creation, and they will have the opportunity will develop a set of visual questions and thematic concerns. to apply those theories through the curation and design of an Working through projects designed for print and screen, exhibition of materials from the D.B. Dowd Modern Graphic illustrators will begin to define a distinctive voice to express their History Library. The course will also explore additional WashU chosen content, including words, images, audio, and typography Libraries' Special Collections visual holdings, such as the moving or lettering. image and numismatics, through guest lectures and workshops. Credit 6 units. Credit 3 units.
F10 ART 562 Illustration Studio II: Artist, Author, Audience F10 ART 576 Comics and Cartooning: A Critical Survey This course explores the format of the self-generated publication: This survey course addresses the language and history of zines, mini-comics and short visual essays. Expanding upon the comics, beginning with the tradition of charicature in Europe and content discovered in the first semester studio, illustrators will America; the emergence of proto-comics in the mid-19th century; create a variety of short works to be mass produced for public early Sunday comic supplements beginning in the 1890s and the readership for both the screen and in print. Projects may range explosion of the comic strip as a popular form between 1900 and from animated sketches to formal visual essays. Research on 1935; the advent of the comic book as an advertising premium audience and viewer experience will be a critical focus. and its development through the imposition of the comics code Credit 6 units. in 1954; and the development of underground comix and the emergence of the graphic novel. F10 ART 571 The Illustrated Periodical Credit 3 units. This course engages the cultural phenomenon of illustrated papers and magazines, primarily in the United States, in the 19th F10 ART 641 Graduate Studio and 20th centuries. We will study the publishing enterprise as an Graduate studio work emphasizes individual development early form of translocal community formation that anticipated the through a mix of independent study and activities structured online culture of today. Course content will include the advent around shared student and faculty interests. The direction of industrial image production; modern reading and looking; of student artwork is determined through consultation with the rivalry of illustration and photography; advertising; race and faculty, and faculty act as guides to realize objectives set by the gender in the production and reception of commercial images; student. Faculty provide critical commentary through ongoing and the contingent status of illustration and its associated dialogue with students and facilitate dialogue expanded by group alienation from high visual culture. Canonical illustrators, critiques, contact with visiting artists, and museum and gallery cartoonists, projects, and texts will be included through a combination of lecture and discussion. Credit 3 units.
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trips. Graduate students are encouraged to explore traditional criticism and art historical writing. Each candidate creates their and experimental approaches to art making. Prerequisite: own personal research archive and explores how writing can second-year MFA student standing. Graduate School of Art expand and advance their practice. Third, this seminar prepares majors only. students to develop their thesis plan, a map of their final MFA-VA Credit 12 units. EN: H creative work, and their thesis text. Credit 3 units. F10 ART 642 Graduate Studio Graduate studio work emphasizes individual development F10 ART 675 Readings in Visual and Material Culture through a mix of independent study and activities structured "No ideas but in things." Taking as a point of departure this around shared student and faculty interests. The direction famous line from a William Carlos Williams poem, which is of student artwork is determined through consultation with often said to express the poet's commitment to a creative faculty, and faculty act as guides to realize objectives set by the practice rooted in tangible things (as opposed to abstractions, student. Faculty provide critical commentary through ongoing formalism, a given subject matter or politics, and so on), this dialogue with students and facilitate dialogue expanded by group course explores the idea-thing relationship as it has come to be critiques, contact with visiting artists, and museum and gallery understood during the past century. Studying influential theories trips. Graduate students are encouraged to explore traditional of visual and material culture, this course will engage historical, and experimental approaches to art making. Prerequisite: theoretical, and creative texts by Marx, Baudrillard, Bourdieu, second-year MFA student standing. Graduate School of Art Sontag, and others alongside concrete visual and material majors only. objects. Students will produce responsive writing and conduct Credit 12 units. EN: H individual research. Credit 3 units. F10 ART 660 Thesis Credit 3 units. EN: H F20 Art F10 ART 661 Illustration & Visual Culture Thesis Studio I Visit online course listings to view semester offerings for This advanced course focuses on defining a professional F20 ART (https://courses.wustl.edu/CourseInfo.aspx? orientation in the practice, criticism, and curation of illustration sch=F&dept=F20&crslvl=5:6). and cartooning today, focusing on the studio and the archive as zones of investigation and achievement. The course work isolates issues of creative approach, production, distribution, F20 ART 501A Drawing: Art Practice (Conceptual Methods in and market position to define and test a major project concept. Drawing) Projects may include picture books, zines, games, animated projects, comics, and other forms of published matter. Students Same as F20 601A - First-year MFAs (only) register for F20 will define research questions and establish an editorial 501A. Drawing is a communicative device; it is a primary means orientation for critical engagement with visual culture. Project of conceptual strategy leading to effective visual exploration definition and early work will carry forward into the work of and expression, from thought to form. This studio course Illustration & Visual Culture Thesis Studio II. looks at the practice of drawing in the context of language, scientific paradigms, complementary and alternative art forms, Credit 9 units. socio-political theory and history as they relate to visual culture and invention. Lectures, critical readings, and analysis F10 ART 662 Illustration & Visual Culture Thesis Studio II of historical and contemporary modes of drawing support Students will build on the project definition established in Thesis students in their course work. Projects in this course may Studio I to take the project to completion. Projects will be consider mapping, language systems, formulaic constructions, shaped and critiqued through meetings with faculty advisors material essentialism, physiologic/kinesthetic approaches, and and dialogue with peers. This course culminates in the public performative aspects of drawing. presentation of student projects. Credit 3 units. EN: H Credit 9 units. F20 ART 501E Anatomy Figure Structure F10 ART 663 Research For Practice This rigorous drawing course explores traditional and new What does it mean to conduct research in the often- representations of the figure through the study of its structure indescribable process of art making? This seminar examines and contemporary contexts. Research involves basic anatomy the question in three key ways. First, through presentations, lectures and sketchbook activities that provide a vehicle for discussions, case studies, and readings, it explores a diverse discovering the figure's architecture, mechanics and proportions. array of artistic strategies and methodologies artists use to Art production is based on in-class and outside projects. engage with content, including collaborative practices, archival Lectures, presentations, critical readings and the analysis of research, working with data, and processes influenced by historical and contemporary figurative works support students non-art fields. Students will consider ways in which their in their investigations. Prerequisites: Drawing (F10 101A or F10 artistic practices constitute and create research and how these 102A). processes condition and inform their artistic voice. Second, this Same as F20 ART 301E seminar builds tools for presenting a distinct voice on behalf of Credit variable, maximum 3 units. Art: FAAM one's work. Specifically, the student is introduced to the way other contemporary practitioners write and talk about their own work -- through published books, chapters, interviews, online materials, and more -- and how this writing differs from both
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F20 ART 502 Drawing the Struggle for Racial Justice" [working title]. It may count An advanced drawing course for third- and fourth-year toward the minor in Creative Practice for Social Change if students. Individualized instruction allows students to explore bundled with "You Are Here: St. Louis' Racial History Through various media and stylistic approaches in both figurative and Sites and Stories." nonfigurative modes. Same as F20 ART 308B Same as F20 ART 302 Credit 1.5 units. Art: CPSC Credit 3 units. Art: FAAM EN: H F20 ART 509B Eco-Art F20 ART 502B Drawing: Art Practice (Conceptual Methods in Eco-Art explores the intersection of art, ecology and ethics. Drawing) Though the movement is broad and growing, eco-art re- Drawing is a communicative device; it is a primary means envisions our relationship with the natural world by informing, of conceptual strategy leading to effective visual exploration challenging, inventing, and reclaiming. This studio-based course and expression, from thought to form. This studio course introduces various artistic practices and working methodologies looks at the practice of drawing in the context of language, related to environmental art, exploring "green" methodologies, scientific paradigms, complementary and alternative art forms, repurposed objects, land art, ecoventions, social sculpture, socio-political theory and history as they relate to visual and community activism. The course is organized around art culture and invention. Lectures, critical readings, and analysis historical precedents, and it is supported by critical essays of historical and contemporary modes of drawing support and examples of contemporary practice, including discussion students in their course work. Projects in this course may of eco-design and sustainable architecture. Projects are open to consider mapping, language systems, formulaic constructions, multidimensional solutions in a wide variety of media. material essentialism, physiologic/kinesthetic approaches, and Same as F20 ART 309B performative aspects of drawing. Credit 3 units. Art: CPSC Same as F10 ART 302B Credit 3 units. Art: CDES, FAAM F20 ART 511D Painting: Art Practice (Special Topics: Narrative Systems: The Frame, The Grid, The Screen) F20 ART 502D Drawing: Art Practice (Collage: History and Same as F20 611D - First-year MFAs (only) register for Practice in Contemporary Art) F20 511D. This studio course focuses on various narrative Same as F20 602D - First-year MFAs (only) register for strategies in relation to painting's mythology and its function F20 502D. This course will examine the role of collage in in contemporary culture. Topics to include narrativity, the contemporary studio practice. Students will be required to politics of lens and screen, invented fictions, social vs. virtual assemble an archive of images from various sources, found spaces, and site specificity. Instruction will encompass technical, and self-generated, to produce a body of work based on a conceptual and creative skills for taking an individually conceived specific theme. Readings and discussion related to the course project from idea to fruition. Students will be encouraged to will examine the evolution of collage and its present status and consider traditional and alternative forms of painting as well as application within contemporary studio practice. digital imaging, installation, net art, and so on. Lectures, critical essays, and analysis of historical precedents and contemporary Credit 3 units. Art: FAAM EN: H practitioners will support students in their course work. Credit 3 units. EN: H F20 ART 503B Collage: History & Practice in Contemporary Art F20 ART 511F Painting: Art Practice (Language of This course examines the role of collage in contemporary studio Abstraction) practice. Students are required to assemble an archive of images from various sources, both found and self-generated, to This course examines strategies of abstraction and non- produce work based on specific themes. This course integrates objective image-making that originate in the painting studio, collage practice with other visual disciplines. Readings and including those that are driven by concept, material, space and/ discussion related to the course examine the evolution of collage or process. Readings and discussion will examine the evolution and its present status and application within contemporary art and history of abstraction and its present applications within a production. contemporary studio practice. The course will engage students Same as F20 ART 303B in both assigned and self-directed work that will enable them to experiment with a broad visual vocabulary while understanding Credit 3 units. the relationship between form and content. Same as F10 ART 311F F20 ART 508B Engaging Community: Understanding the Credit 3 units. Art: CDES, FAAM Basics What does it mean to engage in community as a creative F20 ART 511G Painting: Art Practice (Place and Space) practitioner? Community engagement must be grounded in Same as F20 611G - First-year MFAs (only) register for F20 authentic relationship building and an ability to understand 511G. This course examines ideas of place and space-both and act within the historic context and systems that impact observed and invented-established through the surface and communities. We will practice the skills of listening, observation, materiality of paintings. Students develop a unique body of work reflection, and improvisation. We will cultivate mindsets that through shared exploration of painting processes and materials, focus on community assets and self-determination. Workshops along with independent research. Critical assessment of work is will teach facilitation and power analysis, with the intention of complemented by faculty and peer discussions, readings, written upending the power dynamics between community and creators. critical analysis and field study. This course pairs with "Engaging St. Louis: Sites, Stories, and Credit 3 units.
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F20 ART 512F Painting: Art Practice (Language of F20 ART 511J Painting: Art Practice (Figure Structure) Abstraction) This rigorous painting/drawing course explores new Same as F20 612F. First-year MFAs (only) register for F20 representations of the figure through its structure and 512F. This course examines strategies of abstraction and non- contemporary contexts. Initial research involves anatomy objective image-making that originate in the painting studio, lectures and extensive sketchbook activities that provide a including those that are driven by concept, material, space and/ vehicle for discovering the figure's architecture, mechanics or process. Readings and discussion will examine the evolution and proportions. Students develop an independent body of and history of abstraction and its present applications within a work accessing visual data from a variety of sources (paintings, contemporary studio practice. The course will engage students photography, sculpture, memory, model sessions), with the in both assigned and self-directed work that will enable them to goal of developing expressive qualities with image-making. experiment with a broad visual vocabulary while understanding Lectures, presentations, critical readings, and the analysis of the relationship between form and content. historical and contemporary figurative works support students Credit 3 units. Art: FAAM in their investigations. Required for the BFA in Art painting concentration. Prerequisite: Painting Studio: Material and Culture. Open to BFA and BA students who have taken the F20 ART 512G Painting: Art Practice (Body Image) prerequisite and others, including art minors and MFA students, Same as F20 612G - First-year MFAs (only) register for with permission of the instructor. F20 512G. This is a rigorous painting/drawing studio course Same as F10 ART 311J investigating various methods of pictorial construction (historical, Credit 3 units. contemporary) and the role of figuration in contemporary art practice. Students will be required to produce an independent body of work based on a theme and generated from a variety F20 ART 511T The Poetics of Image-Making: People, Place & of references (imagination, life, photography, painting, film, Space etc.). Discussions to include contemporary notions of identity This painting elective course examines the poetics of image- structures, social and gender politics. Lectures, critical readings making, with a focus on the representation of people, place, and the analysis of historical and contemporary modes of figural and space, both observed and invented. Students learn the representation will support students in their investigations. practice of painting and develop works through fundamental Credit 3 units. exercises as well as through the shared exploration of painting processes. Work outside of class for the beginner is project- F20 ART 512H Painting: Art Practice (Place and Space) based; advanced students produce an independent body of This course examines ideas of place and space -- both observed work. Critical assessment of work is complemented by faculty and invented -- established through the surface and materiality and peer discussions, readings, and field study. Required text: of paintings. Students develop a unique body of work through "The Poetics of Space" by Gaston Bachelard. shared exploration of painting processes and materials, along Credit 3 units. with independent research. Critical assessment of work is complemented by faculty and peer discussions, readings, written F20 ART 511U The Language of Moving Images critical analysis and field study. This course will examine the language of moving images, Same as F10 ART 312H which includes -- among other elements -- shot construction, Credit 3 units. Art: CDES sequencing, duration, sound integration, scale, and situational contexts. Through screenings, readings, lectures, discussions F20 ART 512P Painting: The Painted Figure and critiques, students will develop the skills required to This studio course is an introduction to the practice of painting, interpret moving images and to think about their productions, with an emphasis on the pictorial representation of the human which may utilize forms other than video or film and include figure. Instruction will encompass a range of technical, installation components. This course is not focused on technical conceptual and creative skills to be used for developing approaches, and students' creative work will be driven by projects. In-class projects will include working from the live individual concerns and may be accompanied by written model. Students will be encouraged to consider traditional and analysis. Prerequisite: Digital Studio/Digital Design. alternative forms of painting. Lectures, critical essays, and Same as F20 ART 311U analysis of historical precedents and contemporary practitioners Credit 3 units. will support students in their course work. No prerequisites. Same as F20 ART 312P F20 ART 512E Painting: Art Practice (Place and Space) Credit 3 units. Art: FAAM Same as F20 612E. First-year MFAs (only) register for F20 512E. This course examines ideas of place and space — both F20 ART 513F Sculpture: Foundry observed and invented — established through the surface and Same as F20 613F - First-year MFAs (only) register for F20 materiality of paintings. Students develop a unique body of work 513F. The focus of this course is to introduce students to the through shared exploration of painting processes and materials, basic principles of bronze and aluminum casting according to the along with independent research. Critical assessment of work is lost wax method. Students will learn mold making, direct organic complemented by faculty and peer discussions, readings, written burnout, ceramic shell investment, metal chasing, and patination critical analysis and field study. Prerequisite: First-year MFA in order to create finished sculpture. In addition to metal casting, student standing. students will use other material such as plaster, resin, steel, Credit 3 units. EN: H wood, rubber, plastic and foam to create a mixed media project that explores a specific idea or theme. Additional work outside the regularly scheduled class time is required.
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Credit variable, maximum 6 units. F20 ART 513P Sculpture: Art Practice (Iterative Systems) This course investigates iterative approaches to making as a F20 ART 513H Sculpture: Blacksmithing means to generate multiple works and ideas simultaneously. Same as F20 113H, 213H, 413H - Juniors (only) register for F20 Activities such as mold-making and nontraditional drawing will be 313H. This course is an introduction to Blacksmithing materials, explored along with other process-based methods of capturing tools, and techniques. Students will explore the fundamental thoughtful gestures. Through readings and discussions, students techniques of hand-forged metal. Metal can be manipulated as will engage with historical precedents and contemporary a plastic material and offers enormous possibilities for three- principles that support the creation of self-directed work informed dimensional form. In this class we will explore these possibilities by the iterative mindset. Required for the BFA in Art sculpture and expand our sculptural vocabulary. concentration. Prerequisite: Sculpture Studio: Material and Same as F20 ART 313H Culture. Open to BFA and BA students who have taken the prerequisite and others, including art minors and MFA students, Credit 3 units. Art: FAAM EN: H with the permission of the instructor. Same as F10 ART 313P F20 ART 513I Sculpture: Metal Fabrication Credit 3 units. Same as F20 113I, 213I, 413F - Juniors (only) register for F20 313I. Metal is the backbone of our modern world and a viable F20 ART 513Q Compositions in Clay medium for self-expression. It can be employed as structure or as surface, it can be plastically deformed to create compound In this course, students will broaden their understanding of clay shapes or it can be connected to most any other material. as a viable medium of visual expression and three-dimensional Students will explore the creative potential of this material in the exploration. Students will learn basic hand-building techniques fabrication of sculptural forms. Students learn to weld using both to create sculptural constructions, discover the practical gas and electric arc machines as well as the safe operation of applications of wheel throwing through form and function, and drilling, grinding and finishing tools. explore ceramic tools and equipment to create installation Same as F20 ART 313I projects. Each student's skill level will be considered, and projects will be adjusted accordingly. Emphasis will be placed Credit 3 units. Art: FAAM EN: H on critical assessment and articulation of material. Same as F20 ART 313Q F20 ART 513J Digital Fabrication for Object Making Credit 3 units. Art: FAAM This course explores the potential of digital tools in the creation of tangible objects. We will focus on "component manufacture" F20 ART 5143 Matter in Hand Workshop as a means of sculptural production, i.e., creating linkages, universal fittings, and adaptors that connect disparate materials. Same as F20 6143 - First-year MFAs (only) register for F20 Toys, mechanical systems, and construction products will be 5143. All materials and processes carry meaning, so the researched as a point of inspiration. Students will be introduced choice of one material over another has an enormous impact to various modeling software such as Rhino, AutoCAD, and on the celerity, power and resonance of your work of art. For SolidWorks and explore the potential of these platforms to example, the record of the evolution of human consciousness design 3-dimensional forms. A variety of output tools will be used is forever embedded in the artworks and text designed, made but we will focus primarily on the planning for and use of laser and preserved in clay and paper. This course explores how cutters, 3D printers, and CNC routers. We will develop, design, the work of the hand informs the work of the brain and how, and manufacture components that, when combined with readily together, these activities find meaning in the mind. Through available materials, can be used to create sculptural forms. This these and other processes and materials such as welded metal class will use iterative processes that move between digital and and cast glass, students will investigate how working with a analog model-making and sketching. Students will be introduced particular material influences their concepts and resonates in to the concept of kitbashing, and the modification of salvaged the art they create. This 11-week course will investigate primary and found parts. This course introduces these concepts to materials (clay, glass, concrete, paper, metal) and processes artists, designers, engineers, and anyone interested in exploring of art making. We will explore the manipulation of these to find the possibilities of digital fabrication tools towards the creation of meaning at this point in our evolution. Emphasis will be placed sculpture. No prerequisites. on individual student's investigation and experimentation. Each Same as F20 ART 313J student will investigate these materials conceptually, physically and emotionally in relationship to their own studio practice. Credit 3 units. Art: FAAM Credit 1.5 units.
F20 ART 513M Sculpture: Art Practice (Sculptural Bodies) F20 ART 5144 Matter in Hand Workshop This course investigates the socio-political issues of the body, the figure and their potential in contemporary art practice. The Same as F20 6144. First-year MFAs (only) register for F20 term "body" is used as an organism, in an expansive way, to 5144. All materials and processes carry meaning, so the investigate the metaphorical, physical, emotional, cultural, choice of one material over another has an enormous impact and spiritual bodies. A variety of media and methods are on the celerity, power and resonance of your work of art. For explored with an emphasis on 3-dimensional work and object- example, the record of the evolution of human consciousness based performance. Lectures, demonstrations and readings is forever embedded in the artworks and text designed, made contextualize the potential of sculptural systems to constitute the and preserved in clay and paper. This course explores how meaning of a contemporary body. the work of the hand informs the work of the brain and how, Same as F10 ART 313M together, these activities find meaning in the mind. Through these and other processes and materials such as welded metal Credit 3 units. Art: CDES, FAAM and cast glass, students will investigate how working with a particular material influences their concepts and resonates in
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the art they create. This 11-week course will investigate primary F20 ART 514K Sculpture: Art Practice (Symbiosis) materials (clay, glass, concrete, paper, metal) and processes Same as F20 614K. First-year MFAs (only) register for F20 of art making. We will explore the manipulation of these to find 514K. This course explores numerous scenarios that create meaning at this point in our evolution. Emphasis will be placed different levels of sculptural interactivity from low to high tech. on individual student's investigation and experimentation. Each Students construct devices ranging from simple mechanisms to student will investigate these materials conceptually, physically large-scale installations fostering physical, analogue or digital and emotionally in relationship to their own studio practice. interaction between the viewer and the sculptural environment. Credit 1.5 units. Viewer-activated systems create multiple interactive platforms, initiating a responsive relationship between the sculpture and F20 ART 514F Sculpture: Foundry the viewer. Lectures, demonstrations and readings devise a Same as F20 114F, 214F, 414F - Sophomores (only) register for broad understanding of the histories and potentials of symbiotic F20 114F. The focus of this course is to introduce students to the relationships between a work of art and its audience. basic principles of bronze and aluminum casting according to the Credit 3 units. Art: FAAM EN: H lost wax method. Students will learn mold making, direct organic burnout, ceramic shell investment, metal chasing, and patination F20 ART 514N Sculpture: Art Practice (Itinerant Artworks) in order to create finished sculpture. In addition to metal casting, Who said you can't take it with you? Itinerant Artworks is a students will use other materials such as plaster, resin, steel, course in which students create work in any medium that is wood, rubber, plastic, and foam to create a mixed media project built for travel (not speed) and that can be set up, knocked that explores a specific idea or theme. Additional work outside down, or installed in a variety of locations at a moment's notice. the regularly scheduled class time is required. Students will document their work at a range of sites throughout Same as F20 ART 314F St Louis. For the final project, the class will stage an "off the grid" Credit 3 units. Art: FAAM EN: H outdoor exhibition in Forest Park. Typically, artworks are either site-specific or are agnostic to their placement and location. F20 ART 514H Sculpture: Blacksmithing Itinerant Artworks proposes a third model, where an artwork Same as F20 114H, 214H, 413H - Juniors (only) register for F20 can be mobile, responsive, and highly adaptable to various 314H. This course is an introduction to Blacksmithing materials, environments or sites. Itinerant Artworks is intended to be a tools, and techniques. Students will explore the fundamental response to the current condition for making and viewing art. techniques of hand-forged metal. Metal can be manipulated as Despite the unpredictable and ever-changing circumstances of a plastic material and offers enormous possibilities for three- this moment, you can take it with you. dimensional form. In this class we will explore these possibilities Same as F10 ART 314N and expand our sculptural vocabulary. Credit 3 units. Same as F20 ART 314H Credit 3 units. Art: FAAM EN: H F20 ART 515B Printmaking: Art Practice (Propaganda to Decoration) F20 ART 514I Sculpture: Metal Fabrication This course uses the print multiple as a starting point to Same as F20 114I, 214I, 413I - Juniors (only) register for F20 explore a continuum that runs from propaganda to decoration. 314I. Metal is the backbone of our modern world and a viable The fundamental attributes of the multiple, including its medium for self-expression. It can be employed as structure or accessibility and repeatability, arc from private to public and as surface, it can be plastically deformed to create compound from political to aesthetic. Reproduction, distribution, urban shapes or it can be connected to most any other material. communication, social space, intervention and site specificity are Students will explore the creative potential of this material in the explored through course lectures, readings, and discussions. fabrication of sculptural forms. Students learn to weld using both Collaboration, exchange, and relational practices provide gas and electric arc machines as well as the safe operation of frameworks for self-directed projects using traditional and drilling, grinding and finishing tools. alternative techniques in print media including lithography, Same as F20 ART 314I screen-printing, stencils, and photocopy. Required for the BFA Credit 3 units. Art: FAAM EN: H in Art Printmaking Concentration. Prereq: Printmaking Studio: Material and Culture. Open to BFA and BA students who have taken the prerequisite, and others, including minors and MFA F20 ART 514J Sculpture: Art Practice (Material as Metaphor) students, with consent of instructor. All materials carry meaning. This course familiarizes students Same as F10 ART 315B with histories and fabrication processes intrinsic to sculpture. Credit 3 units. Art: FAAM EN: H This course uses demonstrations and hands on experiences, primarily but not exclusively with metal and wood working processes to show how such materials inform a studio practice. F20 ART 515F Printmaking: Call and Response Lectures and techniques contextualize an understanding of In music, a call and response is a succession of two distinct pre-formed and found material as a formal and conceptual phrases usually written in different parts of the music, where component resulting in the final work of art. In a critical the second phrase is heard as a direct commentary on or in environment, students formulate their own material language and response to the first. Printmaking: Call and Response is a defend their art practice and creative decisions. survey of printmaking with a foundation in traditional, historical, Same as F10 ART 314J and philosophical aspects of printmaking. It will cover basic Credit 3 units. Art: CDES, FAAM EN: H processes in intaglio, lithography, relief, and monotype. Students are encouraged to work in response to the history of the print, with an emphasis on mixed media and experimentation. This class counts for the minor in art. Credit 3 units.
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Credit 3 units. EN: H F20 ART 515H Printmaking: Art Practice (Feedback Loop: Process and Print) F20 ART 517L Photography: Art Practice (Constellations, Same as F20 615H - First-year MFAs (only) register for F20 Sequences, Series) 515H. This course focuses on variability, mutability, repeatability Same as F20 617L - First-year MFAs (only) register for and play within the process of printmaking, using etching, F20 517L. Series are the prevalent method for exhibiting collagraph, monotype and digital methods. The course explores photographic images. Through assignment-based and self- practices and contexts in printmaking as a contemporary art form generated projects, students discover how photographic series and promotes advanced conceptual and technical development are conceptualized, structured and sequenced. Special attention through creative practice, readings, discussions and critiques. is given to the material meaning embedded in print size, order Projects are self-directed and based on course topics that and spatial placement. The course provides in-depth coverage engage different approaches to process-based work, ranging of image capture through medium-format analog and full-frame from the improvisational to the systematic. Emphasis is placed digital systems as well as intermediate digital editing and printing on the shift from object to process, from the single manifestation techniques. Students also explore various documentary and set- to the series, from fixed to flux and back again. up strategies through narrative and non-narrative photographic Credit 3 units. approaches. Through a rigorous critique structure, course readings and critical writing, students engage the historical F20 ART 516G Printmaking: Art Practice (Extra-Dimensional discourse surrounding the series as a tool for artistic expression. Printmaking) Credit 3 units. Pushing the boundaries of printmaking, prints move beyond the wall and into sculpture, installation, and time-based work. Relief, F20 ART 517M Architecture Through the Photographic Lens silkscreen, and intaglio processes are explored with an emphasis Same as F20 117M, 217M, 417M - Juniors (only) register for F20 on print as theatre, object, and immersive environment. Through 317M. Photography offers ways of seeing and representing the readings and discussions, students will engage with historical world around us. This course provides technical and conceptual precedents and contemporary principles that support the frameworks for understanding architectural space as seen creation of self-directed work that is extra-dimensional in through the camera. Topics include building as site, landscape physical and conceptual scope. as context, and the architectural model as a representation Same as F10 ART 316G tool. Students are introduced to a wide range of artists and Credit 3 units. Art: CDES, FAAM architects, helping build a unique camera language to support their individual projects. Students will learn DSLR camera basics, fundamentals of Photoshop, digital printing techniques and F20 ART 516T Printmaking for Architecture and Art Students studio lighting for documenting architectural models. The course This course will focus on monotype mixed media printmaking assumes no prior experience with digital imaging technologies or using both a press and digital print processes. The course materials. Digital camera required. is designed to be responsive to current issues with a Same as F20 ART 317M focus on contemporary printmaking practices and various Credit 3 units. Art: FAAM ideas about dissemination in the age of social media. The course will include an examination of historical examples of diverse global practices; prints made in periods F20 ART 517N Contemporary Portraiture of uncertainty, disruption, war, and disaster; and speculative Same as F20 117N, 217N, 417N - Juniors (only) register for F20 projects by architects such as Superstudio, Zaha Hadid 317N. Historically, portraits were painted of the royal or wealthy Architects and Archigram. Students will be expected to create to document an accurate likeness and display status and power. a series of work with a conceptual framework developing But with the advent of photography, artists were freed to develop a personal visual language. interpretations in style, process and medium. With subjects Same as F20 ART 316T such as family, friends, strangers, celebrities, or self, the portrait Credit 3 units. Art: FAAM has been used to reflect culture, identity, and the relationship between the artist and sitter. Issues of race, sexuality, gender, vanity and status continue to be relevant to contemporary F20 ART 517H Photography: Art Practice (Methods of practice. Primarily a drawing class, students combine the Distribution) study of contemporary portrait artists with a studio practice that Same as F20 617H - First-year MFAs (only) register for F20 encourages development of a unique voice. Students consider 517H. One of the most effective aspects of the photographic how pose, gesture, lighting and other factors work together to image today is its speed. The way that physical and virtual support their intentions. Initial assignment prompts progress to images are presented and distributed has changed significantly guided, independent pursuits. Students will be encouraged to since the initial branding of photography as the medium of experiment with image, materials, and processes. Live models reproducibility. This class focuses on photography-based will be used as well as other source material. uses of the image through various distribution formats like the Same as F20 ART 317N book, the poster, the newspaper, television, web, design, film, Credit 3 units. Art: FAAM apparel, architecture, music, etc. The students make, read, look, listen, and experience 20th- and 21st-century photography practitioners who engage a range of disciplines and methods F20 ART 517P Drone Photography of distribution as they try to synthesize methods/models of their This combination studio and discussion-based course examines own. Rigorous student project critiques are complemented with the use of small unmanned aerial systems (sUAS) — otherwise discussions, writing assignments, and readings on media theory known as drones — as a photographic medium. Studio sessions and contemporary uses of photography outside of the traditional will introduce students to sUAS operation, various editing exhibition-based contexts. platforms, and output strategies. Lecture and discussion
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sessions will examine FAA regulations, the ethical implications contexts. Class participants investigate the role of high-fidelity of sUAS use by visual artists, and the rise of sUAS in the visual images. Assignments may address portraiture, still life, interior arts within the context of the history of aerial photography. All and exterior architecture, landscape and abstract photography. students will produce a body of work using drone capture as Large format 4"x5" cameras will be available for use. the primary medium. In order to ensure equal access to sUAS, Credit 3 units. EN: H students will be required to meet outside of class sessions. Same as F20 ART 317P F20 ART 518K Photography: Art Practice (Documentary Credit 3 units. Art: CPSC, FAAM EN: H Photography & Social Practice) Same as F20 618K. First-year MFAs (only) register for F20 F20 ART 517Q Context, Curation, Communication: Seriality 518K. This course focuses on the various philosophical, in the Photographic Image aesthetic and technical approaches to photographing the Series and sequences are the prevalent method for exhibiting contemporary, human-altered landscape and the communities photographic images. Through assignment-based and self- we live in. Through slide lectures, field trips, in-depth critique generated projects, students discover how photographic and supervised lab work, students are expected to increase their series are conceptualized, structured, and sequenced. Special awareness of how their own personal responses relate to those attention is given to the material meaning embedded in print of other photographers with the same contemporary issues of size, order, and spatial placement. The course provides in- documentary photography. A project-based seminar focusing on depth coverage of image capture through medium-format analog objectivity of the photographic document. Material and camera and full-frame digital systems as well as intermediate digital format open. editing and printing techniques. Students also explore various Credit 3 units. Art: FAAM EN: H documentary and setup strategies through narrative and non- narrative photographic approaches. Through a rigorous critique structure, course readings, and critical writing, students engage F20 ART 518P Photography: Art Practice (Art, Environment, the historical discourse surrounding the series as a tool for Culture & Image) artistic expression. The medium of photography offers multiple ways to engage with Credit 3 units. critical social, political and environmental issues. Throughout this course, a wide range of photographic tools and modes of production will be explored, including digital and film-based F20 ART 517R Art Practice: Photography (Black-and-White materials and a variety of printing techniques. The course will Master Printing) also consider the integration of alternative methods of lens- This course offers an introduction to black and white master based communication and working to construct images within printing techniques for analog and digital outputs. The first part of relevant contexts of meaning. Through presentations and the course will focus on advanced darkroom techniques, as well readings, students will be introduced to a range of contemporary as the use of developers, papers, and toners. The second part artists working with essential topics such as climate change, of the course will cover advanced digital b/w strategies, including ecological sustainability, energy production and extraction, and quadtone RIPs, specialty papers, and Photoshop workflows. the human body and technology. Students will work to build a In addition to technical demonstrations, course lectures will final and self-directed project identified through their ongoing look at the role master printers have played in the history of research and image production. Required for the BFA in Art photography. Visits to the Mildred Lane Kemper Art Museum photography concentration. Prerequisite: Photography Studio: and The St. Louis Art Museum print rooms will compliment Material and Culture. lectures and activities. All students will develop a portfolio of Same as F10 ART 318P personally-driven work in black and white. Required for the BFA Credit 3 units. Art: CDES, FAAM in Art Photography Concentration. Prereq: Photography Studio: Material and Culture. Open to BFA and BA students who have taken the prerequisite, and others, including minors and MFA F20 ART 518Q Photography: Art Practice (A Sense of Place students, with consent of instructor. or Understanding Place Through Photography) Same as F10 ART 317R This course explores the concept of "place" and the cultural Credit 3 units. implications that accompany the definitions of "place." Working with photography and taking inspiration from the fields of geography, environmental studies, urban design and cultural F20 ART 518J Photography: Art Practice (Slow Image: Large anthropology, this course considers how a relationship to place Format Photography) is constructed. We will also consider displacements throughout Same as F20 618J. First-year MFAs (only) register for F20 history and value systems embedded in the construction of 518J. This course provides an in-depth study of the large format a sense of place. Is one's relationship to place personal? analog camera and its unique formal position. Using the 4"x5" Is it collective, is it cultural, is it rooted in the surrounding format, students examine this slow, high-fidelity photographic environment? What are the marks that define a sense of place, medium both technically and conceptually. Students employ a and is there residue or lingering evidence that can be perceived? comprehensive photographic process, including loading sheet The medium of photography has unique capacities to address film, applying the zone system, scanning large format film, these questions. This studio course builds knowledge through editing digital images, and creating large format digital inkjet photographic practice with accompanying readings, seminar prints. Class activities include rigorous student project critiques, discussion and guided assignments. Students will participate as well as reading and discussion elements focusing on the in an active process of exploring diverse concepts of place in history of large format and its contemporary descendants in the relationship to the built environment. Students will be introduced Dusseldorf School, abstract photography and installation art to a range of ways of making and thinking about the subject of place, including looking at place as site, as geography, as memory, as non-place, as urban space, as rural space, as
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community, and as ecological site. No formal photographic into deeper/underlaying content that touches on timelessness training is necessary. Students will be introduced to the basics of and global/human topics. Within set parameters, students camera operation, Photoshop and Lightroom software for editing choose their own filmic topics and structures. Graduate and and the fundamentals of digital print output for fine art printing undergraduate students can form teams or work independently will be covered. as their own producer, writer, director, cinematographer, editor Same as F10 ART 318Q and sound recordist. No previous experience required. Credit 3 units. Art: CDES, FAAM Same as F20 ART 328C Credit 3 units. Art: FAAM F20 ART 519J Structural Ceramics This course is designed for advancing study in 3D practices F20 ART 528D Experimental Photography: Cameraless to within clay processes and in sculpture. Several techniques in Polaroid, Form to Content clay will be explored, and hand-building will be emphasized. These days, everyone is a photographer, right? But how does Methods of creating will include coiling, slab building, casting, that image snapped with your smartphone arrive on your and subtractive modeling. In this course, we will understand screen? As technology marches forward, we have images and research clay as a material that engages in structure and literally at our fingertips, yet the actual process of producing introduces new sculptural ideas that define scale, balance, the picture is, ironically, more elusive. In this course, we will form, and so on. Surface design with cold finishes and glazes, dive into experimental processes and examine how physically firing processes, and mold making will be explored as means of making the picture can affect the content of that picture. As building and finishing content. Discussions and presentations you craft images, ideas become tied to process and suggest will focus on the history and contemporary traditions of ceramic new directions, strategies and subjects. We will begin with structures and sculptures. Emphasis will be placed on the critical cameraless techniques, such as the photogram and cyanotype; assessment and articulation of material. we will investigate the principle of the camera obscura; we Same as F20 ART 319J will test out rudimentary cameras such as the pinhole and Credit 3 units. Art: FAAM disposable models; and we will experiment with printing techniques such as Polaroid and Xerox transfer, examining F20 ART 525J Sculpting Realities artists using these various techniques along the way. As we This course investigates new digital technologies -- particularly move through the semester, students will learn the various ways mixed, augmented, and virtual reality -- through the that light can create images, and they will begin to find their own consideration of one critical question: "What does it mean to particular voice within these mechanizations and create original be real?" Students will learn the basics for making works of work. art, design, and architecture in alternative realities through Same as F20 ART 328D 3D scanning, 3D modeling, and immersive world building. In Credit 3 units. Art: FAAM addition to tutorials and multidisciplinary collaborative studio projects, students will investigate issues of reality and the F20 ART 528E Making Documentaries in the Time of Covid use of alternative reality tools through readings, discussions, Documentary video is a powerful tool to spotlight the frustrations presentations, and other dialogues. The semester will culminate and triumphs of our daily lives. Unlike fiction films, the in a final project that translates a physical experience or artifact inquiry and the questions that start the process of making a into a digital one. documentary end up as an adventure and often the film itself. Same as F20 ART 325J Many filmmakers discover unexpected answers, reveal hidden Credit 3 units. Art: FADM histories, humanize previously one-dimensional characters, and spotlight even more in-depth questions. The global pandemic F20 ART 527A History of Photography offers a unique opportunity to create videos that acknowledge Same as F20 627A. First-year MFAs (only) register for this moment, with the potential to become a significant part F20 527A. Survey of the history of photography and a look of an international conversation. Even beginning filmmakers at the medium from the camera obscura to contemporary can give voice to issues that will be included in the historical developments. Social and technological developments examined record. Students will learn about or improve their cinematic in terms of their influence on the medium. aesthetics and professional video editing skills by making three short videos. EN: H Credit 3 units. Same as F20 ART 328E Credit 3 units. Art: CPSC, FAAM F20 ART 528A History of Photography Same as F20 628A. First-year MFAs (only) register for F20 ART 529C Time-Based Media: Art Practice (Mediated F20 528A. Survey of the history of photography and a look at the medium from the camera obscura to contemporary Performance) developments. Social and technological developments examined Same as F20 629C - First-year MFAs (only) register for F20 in terms of their influence on the medium. 529C. This course explores the body as a time-based medium Credit 3 units. Art: FAAM EN: H and a vehicle of expression that interacts with cinematic and sound technologies, undergoing gradual semantic, virtual and visceral transformations. Students create performance-based F20 ART 528C Documentary Film video and sound works that are mediated with electronic/digital This course investigates techniques of powerful nonfiction filmic technology and performed or screened in public. Collaborative, storytelling that symbiotically merges visual and literary narrative individual political and poetic actions and happenings are devices. We will explore the organic process of research, encouraged. Students focus on the production of conceptually interaction and craft to construct three short films. Students will rigorous and technically convincing work that embodies their be encouraged to go beyond apparent subject matter to inquire performative, experimental and individually designed ideas.
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Credit 3 units. EN: H in response to individual student work. Successful completion of the course requires the development of and commitment to an aesthetic and creative position within the fields of illustration F20 ART 529L Time Based Media: Art Practice (Expanded and cartooning. Readings address the history and culture of Cinema) illustration, comics and animation. Focusing on experimental approaches to digital filmmaking this Credit 3 units. course offers opportunities for independent producers arising from hybrid media interests. Expanded Cinema encourages and supports a variety of cinematic concepts, from non-narrative to F20 ART 533L Applied Illustration documentary and activist approaches. Instruction will encompass This course will explore drawing and conceptual development technical, conceptual and creative skills for taking an individually in the landscape of professional picture-making and illustration. conceived project from idea to fruition. Using the lens of an applied professional process, students will Same as F10 ART 329L make work that explores and establishes an artistic viewpoint. Credit 3 units. Art: CDES, FAAM, FADM Focused research, idea development, formal experimentation, and class critique are vital to these goals. Using this contextual practice, students will advance toward the development of an F20 ART 530I Time-Based Media: Art Practice (New Media in individual voice. This course is applicable to anticipated career Art) directions in image making, illustration, comics, picture books Same as F20 630I. First-year MFAs (only) register for F20 530I. and visual storytelling. Prerequisite: Communication Design: Exploring the intersection of art and technology, the course Word & Image II or permission of instructor. focuses on the phenomenon of time as an artistic medium and Same as F10 ART 433L as the subject of work. Through the production of time-based Credit 3 units. Art: CDES, FADM works in a virtual realm, students learn about compositional choices, narrative and non-narrative strategies, and ethical and F20 ART 535J Introduction to Animating in Three political responsibilities that artists and artist collectives face in the 21st century. Students gain exposure to selected software Dimensions as it pertains to their individually designed projects. Readings, Same as F20 635J - First-year MFAs (only) register for F20 writing assignments and an active participation in critiques of 535J. This course explores 3D animation in the short film format. works by contemporary new media artists will be part of this Students move from an overview of the process and visual seminar. vocabulary of animation to defining filmic ideas, the visual gag, Credit 3 units. Art: FAAM and character-driven content. Cinematic shot design, timing, character design, and sound design are studied for determining the most effective means of communicating desired content. F20 ART 530L Time-Based Media: Art Practice (Expanded Hand-drawn sketches are imported into a 3D animation program Cinema) as the basis to model and animate characters, create settings, By focusing on experimental approaches to digital filmmaking, and add special effects. An animated sequence is produced this course offers opportunities for independent producers arising to show evidence of personal inquiry and level of expertise. from hybrid media interests. Expanded Cinema encourages and Prerequisite: Drawing or equivalent or permission of instructor. supports a variety of cinematic concepts, from non-narrative to Credit 3 units. EN: H documentary and activist approaches. Instruction will encompass technical, conceptual and creative skills for taking an individually F20 ART 535K Animated Worlds conceived project from idea to fruition. Same as F10 ART 330L This course explores traditional and experimental 3D animation in a short film format. Beginning students will learn polygon Credit 3 units. Art: CDES EN: H and NURBS modeling, texturing, lighting, rigging props, and characters in Maya. A storyboard, animatic and final rendered F20 ART 532E Panel By Panel: Narrative Comics short will be developed for two major projects. Advanced skill Comics are a medium with a long history. The desire to tell a sets include development, character design, 3D modeling, story through a sequence of images has existed since humans rigging, visual effects, sound, and rendering. No prerequisites began drawing and documenting. This course teaches students or previous experience required. This course can be taken to create comics, with both fiction and nonfiction narratives. multiple times at either the beginner or advanced level, and it Students will be introduced to historic and contemporary is open to students of all levels across the university. Graduate examples of comics over the course of the semester. Through and advanced students can build independent projects with assignments and in-class workshops, students will learn the permission of the instructor. basics of making comics, including panel transitions, the Same as F20 ART 335K relationship between words and pictures, pitching a concept, Credit 3 units. Art: FADM breaking a plot down into a script, production. Assignments will span a range of narrative lengths; exploration of digital and print F20 ART 536A Interaction Design: Understanding Health and formats is encouraged. Same as F10 ART 332E Well-Being Credit 3 units. Art: CDES, FADM Same as F20 236A, F20 436A - Juniors (only) register for F20 336A. Through a blend of presentations from practitioners, classroom lectures, readings, discussion and hands-on F20 ART 533E Research Methods (Image and Story) exercises, this class will engage principles and methods of This is a course in image-making for functional contexts. interaction design within the context of health challenges. Students develop projects that isolate issues of approach, Broadly defined, interaction design is the practice of designing production, distribution and market in the landscape of illustration products, environments, systems, and services with a focus and cartooning today. Targeted research questions are posed on behavior and user experience. We will take on an in-depth
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challenge in the area of health and well-being and work in cross- F20 ART 538J Advanced Animation disciplinary design teams with an external partner organization. Same as F20 138J, 238J, 438J. Juniors (only) register for F20 Students will gain experience in planning and executing a human 338J. This course focuses on completing a short animated film centered design process featuring research, ideation, synthesis, as a group project utilizing a workflow similar to that used in concept development, prototypes and a final presentation, the animated feature film industry. The class will first develop which may include visual design, animation, and sound. a story. Individuals will then be assigned tasks according to Students will work in teams to develop several intermediate strong areas of interest to create a storyboard and animatic. Key project deliverables, such as prototypes and sketches. No moments will be identified to be animated first. Once agreed on, prior coursework is necessary though experience with Adobe students will be able to choose to work in various parts of the Photoshop, Illustrator and InDesign are helpful. pipeline including Character Design; Layout and Set Design; Same as F20 ART 336A 3D modeling; Rigging; Animation; Textures; Special Effects; Credit 3 units. Art: CPSC, FADM EN: H Sound; Rendering and Editing. Finally, it is all put together as a short. This is an advanced course that assumes some F20 ART 536I Communication Design I experience in Maya or similar 3D program, or for those who have Same as F20 136I, 236I, 436I. Juniors (only) register for already developed skills in any form of animation. Prerequisite: F20 336I. Students are introduced to the fundamentals of Introduction to Animating in Three Dimensions or permission of communication design. Through studio exercises and lectures, instructor. Same as F20 ART 338J students are exposed to a broad range of conceptual, aesthetic and strategic issues in the field. The course explores principles Credit 3 units. Art: FADM EN: H of two-dimensional design, typography, and the relationship of text and image in order to persuade and inform. It helps F20 ART 541G Digital Game Design students to learn a design methodology for illuminating and Designing a digital game that is both entertaining and usable solving problems and provides baseline training in the Adobe requires understanding principles of user interface, game theory, Suite. Upon completion of this course, students will be able to and visual design. In this course, students will be introduced to design basic projects and have criteria to provide an informed basic game design strategy and practice in the development of evaluation of the effectiveness of a given design. It provides an their own game projects. Using both paper and the digital screen introduction to design as a tool for business and marketing. as a canvas for design, students will explore gameplay iterations Same as F20 ART 336I and create visual components. No prior experience in visual Credit 3 units. Art: FADM EN: H design, coding, or digital games is necessary. Same as F20 ART 241E F20 ART 536L Animated Worlds Credit 3 units. Art: FADM This course explores traditional and experimental 3D animation in a short film format. Beginning students will learn polygon F20 ART 5444 The Art of Community Engagement Project and NURBS modeling, texturing, lighting, rigging props, and Same as F20 6444 - First-year MFAs (only) register for F20 characters in Maya. A storyboard, animatic and final rendered 5444. This course consists of a public art project completed short will be developed for two major projects. Advanced skill in association with underserved communities in St. Louis. sets include development, character design, 3D modeling, Works of art will be proposed and executed during the course's rigging, visual effects, sound, and rendering. No prerequisites duration. Students will engage with various communities in or previous experience required. This course can be taken creative collaborative research and thinking, resulting in work, multiple times at either the beginner or advanced level, and it which reflects and honors the cultural aesthetic and ecological is open to students of all levels across the university. Graduate values of the specific community. Each student will present their and advanced students can build independent projects with concepts to a committee from the institution. Each student will be permission of the instructor. given a modest budget to support the production and installation Same as F20 ART 336L of their work. Course will involve guest speakers, individual Credit 3 units. Art: FADM research, site visits and group discussions. Credit 1.5 units. EN: H F20 ART 537N Type as Image: Experiments on Press Working in the Kranzberg Studio for the Illustrated Book, F20 ART 5445 Art & Community Engagement students will use printing to explore the expressive possibilities This 11-week course consists of public art projects completed in of typography both as language and as image/illustration. association with underserved communities in St. Louis. Works of Graphic shape, line, tone, color and type can all be used as art will be proposed and executed during the course's duration. raw materials in the construction of messages, stories and Students engage with communities in creative collaborative ideas. In this course, students will respond to prompts and research and thinking, and this results in works that reflect create self-generated expressive and experimental projects that and honor the cultural aesthetic and ecological values of the explore the language of design in a tactile form. Students will be specific community. Each student will be given a modest budget introduced to both basic and advanced typographic knowledge to support their concept. The course involves guest speakers, as they ground thier work in the visual expression of language. individual research, site visits, and group discussions. Prerequisite: Communication Design: Word & Image II. Credit 1.5 units. Same as F10 ART 437N Credit 3 units. Art: CDES, FADM F20 ART 544A Animation Tools and Methods This course introduces a range of digital and analog production techniques for the practice of animation. It will also present fundamental concepts and issues that define this creative form. Prerequisite: Digital Studio or permission of instructor.
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Same as F20 ART 344A guided research and collaboration. During the semester, Credit 3 units. Art: FAAM, FADM students will create two major performance-based works that incorporate other media of choice, such as film, music, text, or installation. Student work will be documented and demonstrable F20 ART 5461 BookLab in their portfolios. Several smaller improvised or in-class Same as F20 6461 - First-year MFAs (only) register for F20 assignments will lead toward a final project accompanied by an 5461. This course will address several alternative forms of the artist text. Readings, lectures and invited guests will accompany book and the effect they have on shaping content. We will pay this studio. particular attention to the concept of authorship in contemporary Same as F20 ART 352B artists books, which will be supported by visits to the Olin Library Credit 3 units. Art: FAAM Special Collections. Using the materials and equipment in the Kranzberg Book Studio students will work with the instructor to explore the origination and shaping of content through F20 ART 562 Why Art Matters form. Letterpress, alternative print process, and bookbinding This lecture and discussion course will examine how art, which techniques will be covered. productively utilizes ambiguity and discontinuity, is a distinctive Credit 1.5 units. form of expression and communication. Functioning not as a bearer of meaning but rather as a shaper of meaningful questions, art invites interpretation and introspection. As such, F20 ART 547T Artist's Book art -- which often functions to rekindle perception and give rise to This course will examine the role of the book as an artifact of new ways of thinking about and being in the world -- empowers material culture. We will investigate definitions of the artist's book individual thought, encourages empathy, and celebrates the and current uses of the book form as metaphor in contemporary diversity of ideas and opinions that are vital to conditions of art. We will look at the work of artists such as Anselm Kiefer, freedom. With this in mind, multimedia lectures will explore the Ann Hamilton, Rachel Whiteread, Kiki Smith, William Kentridge, perspectives of contemporary artists (e.g., James Turrell, Cerith Sophe Calle, Dieter Rot, and many others. In addition, we will Wyn Evans, Wangechi Mutu), psychologists (e.g., Winnicott, look at the role of artist's books and publications in many 20th- Frankl, Freud), philosophers (e.g., Heidegger, Bataille, Merleau- century artistic movements. Course projects will center around Ponty), linguists (e.g., Lacan, Pierce, Saussure), sociologists, the exploration of various types of editioned artworks, such as cognitive scientists, cultural theorists and others. In addition, artist's multiples, mail art, zines, and more. readings, discussions, in-class group interpretations and written Same as F20 ART 347T critical analysis will provide students with the tools required to Credit 3 units. understand how art, which is a distinctive form of expression and communication, matters; it matters, as Bill O' Brien argues, F20 ART 551A Sound Environments because it teaches us how we matter. This course explores sound and musical composition in a digital Same as F20 ART 362 format, functioning as a sculptural, spatial, psychological, and Credit 3 units. Art: VC EN: H architectural intervention. The course offers an introduction to current sound art practices and examines how sound projects F20 ART 5664 Study Abroad - Berlin Sommerakademie are capable of altering our sense of space and time. Sonic space This seminar explores the international contemporary art center, necessarily touches upon experimental music and installation art Berlin, through artist studio and museum visits and discussions as closely related to sound art. The course introduces students with curators and scholars. This course offers a unique context to basic methods of sound recording and editing software and to explore various modes of cultural production in relation to hardware, with the goal of composing sound works for space and the material, social and political conditions of the city. Berlin's for headphones. Readings pertaining to current developments memorial sites that bore witness to the city's traumatic past in contemporary experimental music and sound art as well as during the Third Reich and Cold War division as well as its global regular writing assignments accompany the course. presence further provide the opportunity to examine context- Same as F20 ART 351A driven work. The seminar meets seven or eight times prior to Credit 3 units. Art: FAAM EN: H departure and over the course of approximately one month in Berlin and Venice, where the program culminates at the F20 ART 552B Performing Solitude Biennale. This course counts as an elective or toward the 18 Performing Solitude is a new elective studio with elements units of art history required for the MFA degree. of a seminar, and it is open to students from across campus Credit 3 units. EN: H and suited most for upper-level undergraduates and graduate students in art, architecture, performing arts, music, and film & F20 ART 5713 Introduction to Book Binding media studies departments. Performing Solitude invites students Same as F20 1713, 2713, 4713. Juniors (only) register for who are interested in creating interdisciplinary works that merge F20 3713. This class will serve as an introduction to the book performance art with other forms of expression, including visual, as artifact of material culture. A variety of traditional and non- digital, acoustic, textual and cinematic. Working with their own traditional book structures will be explored. Students will learn performing selves as a material in their art -- and with domestic from historical approaches to constructing the codex form or landscape space -- students will be invited to reconsider including the single signature pamphlet, the multi-signature what performance art means in the age of a post-global, post- case binding, the coptic, and the medieval long stitch. Students pandemic and post-digital universe in which the biological will learn Japanese binding and its many variations. Several environment, including nature and their own bodies as part of contemporary variations will be introduced, including the tunnel, it, continues to enact gestures and make aesthetic statements the flag book, the accordion and the carousel. Students will set against global histories. This studio incorporates elements explore the visual book using found imagery and photocopy of a seminar by way of discussing histories of performance art, transfers, and will produce a variety of decorated papers to be performativity, and rituality as well as by supportong individually used in their bindings.
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Same as F20 ART 3713 be agents of history? To culminate this workshop, graduate Credit 3 units. Art: FADM EN: H students will present their work as aligned with contemporary issues and as an open inquiry to how their studio practice may be a tool for social change. F20 ART 578 Contemporary Discourses: Art + Feminism Credit 1.5 units. This course investigates the impact of feminism on contemporary art, focusing on artwork produced between the 1960s and the present day. Through an examination of global practices in F20 ART 585B Beyond Words, Beyond Images: a wide range of media, including artworks in the university's Representation After History Kemper Museum collection, students will delve into innovative The seminar focuses on art in the public domain and examines aesthetic strategies that criticize assumptions of gender, race contemporary practices that engage public memory and the and social class and consider the intricate tie between the meta-city. Prompting students to consider their own practice identity of the author and the content of the work. This course in the context of public space, the seminar offers examples of is taught by a practicing artist, who together with the students projects that contribute to global cultural and political discourse. will uncover historical developments and epic omissions. This Weekly illustrated lectures, readings, writing assignments, is a lecture course with a discussion component. Requirements screenings, discussions, and individual research lead toward include participation in weekly discussion sections, regular the final term paper. Individual studio consultations serve as response papers, and a final written curatorial project. No a platform for the discussion of students' evolving practice, prerequisites in Art or Art History required. leading toward the final project in a medium of choice. MFA VA Same as F20 ART 378 students and graduate students in architecture are especially Credit 3 units. Art: CPSC, FAAM EN: H welcome. This is an upper-level course open to juniors, seniors, and graduate students only. F20 ART 5783 Special Topics in Visual Culture: Introduction Same as F20 ART 385B to Illustration Studies Credit 3 units. Art: FAAM, GFAH, VC Same as F20 6783 - First-year MFAs (only) register for F20 5783. How have knowledge, opinion, and feeling been F20 ART 585D Art Seminar: Fantastic Voyage and Scales of communicated visually from the advent of automated printing Wonder presses to the invention of the internet, and to what effect? Affective encounters with scale -- encounters that make us Using concepts in visual studies and communication studies, aware of our bodies in relationship to the world around us -- this course explores the histories of primarily American visual- occur broadly throughout human experience, from viewing verbal texts to investigate how minds and hands conceived, miniature particles through the lens of a microscope to produced, distributed, and consumed illustrated print media in wandering through monumental architectural environments. the 19th and 20th centuries. Beginning with the neurological Undeniably, scale and affect are integral to the lived experience basis of vision, we will examine ways culture affects perception, and to the ways in which art, design and the built environment how print technologies shape content, how word and image have developed over the past half century. Through lectures, rhetorically shape beliefs, how power relations imbue images discussions, and critical readings, Fantastic Voyage and Scales and publishing, and the ways counterculture forms such as of Wonder will examine scale as a central theme to explore our caricature and posters can be used to intervene socially. encounters with built environments and designed objects alike. Students will conduct original research using University Libraries Readings and discussions will span media archeology and affect Special Collections to hone their ability to write convincingly and theory. This seminar will also examine the impact of such works professionally about imagery. No prerequisites; counts toward as Charles and Ray Eames's 1968 documentary "The Powers of design minor. Ten" and the 1966 cult film "Fantastic Voyage" (which inspired Credit 3 units. Isaac Asimov's science fiction novel of the same name) on art, design and architecture today. F20 ART 5851 Art-ivism Same as F20 ART 385D Same as F20 6851 - First-year MFAs (only) register for F20 Credit 3 units. Art: FAAM, FADM 5851. What is art-ivism? It seems appropriate that a new word be invented to identify strategies used by artists to raise F20 ART 592A BookLab questions and seek answers to some of the most pressing Same as F20 692A. First-year MFAs (only) register for F20 issues of our day. This workshop is a series of conversations, 592A. This course will address several alternative forms of the readings and brainstorming sessions for graduate students book and the effect they have on shaping content. We will pay whose studio practice touches on the intersection of art and the particular attention to the concept of authorship in contemporary political. We will begin with questioning and seeking answers artists' books, which will be supported by visits to the Olin Library in the studio that then generate more questioning. What does Special Collections. Using the materials and equipment in the this historical and geographic moment in time signify for each Kranzberg Book Studio, students will work with the instructor of us as individuals and as members of a collective community? to explore the origination and shaping of content through As individuals we stand in our own truths and this can be form. Letterpress, alternative print process, and bookbinding empowering. As artists how can we activate our passions toward techniques will be covered. actuality and how can this be contagious for our "audience" Credit 1.5 units. through the actions and objects generated from our studio practice? What challenges does activist art present in your studio? Is art a mirror of culture or can it be a producer of culture? Does art have the power to change culture? Can artists
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F20 ART 601A Drawing: Art Practice (Conceptual Methods in and self-generated, to produce a body of work based on a Drawing) specific theme. Readings and discussion related to the course Same as F20 501A - Second-year MFAs (only) register for F20 will examine the evolution of collage and its present status and 601A. Drawing is a communicative device; it is a primary means application within contemporary studio practice. of conceptual strategy leading to effective visual exploration Credit 3 units. Art: FAAM and expression, from thought to form. This studio course looks at the practice of drawing in the context of language, F20 ART 603B Collage: History & Practice in Contemporary scientific paradigms, complementary and alternative art forms, Art socio-political theory and history as they relate to visual This course examines the role of collage in contemporary studio culture and invention. Lectures, critical readings, and analysis practice. Students are required to assemble an archive of of historical and contemporary modes of drawing support images from various sources, both found and self-generated, to students in their course work. Projects in this course may produce work based on specific themes. This course integrates consider mapping, language systems, formulaic constructions, collage practice with other visual disciplines. Readings and material essentialism, physiologic/kinesthetic approaches, and discussion related to the course examine the evolution of collage performative aspects of drawing. and its present status and application within contemporary art Credit 3 units. EN: H production. Same as F20 ART 303B F20 ART 601E Anatomy Figure Structure Credit 3 units. This rigorous drawing course explores traditional and new representations of the figure through the study of its structure F20 ART 608B Engaging Community: Understanding the and contemporary contexts. Research involves basic anatomy lectures and sketchbook activities that provide a vehicle for Basics discovering the figure's architecture, mechanics and proportions. What does it mean to engage in community as a creative Art production is based on in-class and outside projects. practitioner? Community engagement must be grounded in Lectures, presentations, critical readings and the analysis of authentic relationship building and an ability to understand historical and contemporary figurative works support students and act within the historic context and systems that impact in their investigations. Prerequisites: Drawing (F10 101A or F10 communities. We will practice the skills of listening, observation, 102A). reflection, and improvisation. We will cultivate mindsets that Same as F20 ART 301E focus on community assets and self-determination. Workshops Credit variable, maximum 3 units. Art: FAAM will teach facilitation and power analysis, with the intention of upending the power dynamics between community and creators. This course pairs with "Engaging St. Louis: Sites, Stories, and F20 ART 602 Drawing the Struggle for Racial Justice" [working title]. It may count An advanced drawing course for third- and fourth-year toward the minor in Creative Practice for Social Change if students. Individualized instruction allows students to explore bundled with "You Are Here: St. Louis' Racial History Through various media and stylistic approaches in both figurative and Sites and Stories." nonfigurative modes. Same as F20 ART 308B Same as F20 ART 302 Credit 1.5 units. Art: CPSC Credit 3 units. Art: FAAM EN: H F20 ART 609B Eco-Art F20 ART 602B Drawing: Art Practice (Conceptual Methods in Eco-Art explores the intersection of art, ecology and ethics. Drawing) Though the movement is broad and growing, eco-art re- Drawing is a communicative device; it is a primary means envisions our relationship with the natural world by informing, of conceptual strategy leading to effective visual exploration challenging, inventing, and reclaiming. This studio-based course and expression, from thought to form. This studio course introduces various artistic practices and working methodologies looks at the practice of drawing in the context of language, related to environmental art, exploring "green" methodologies, scientific paradigms, complementary and alternative art forms, repurposed objects, land art, ecoventions, social sculpture, socio-political theory and history as they relate to visual and community activism. The course is organized around art culture and invention. Lectures, critical readings, and analysis historical precedents, and it is supported by critical essays of historical and contemporary modes of drawing support and examples of contemporary practice, including discussion students in their course work. Projects in this course may of eco-design and sustainable architecture. Projects are open to consider mapping, language systems, formulaic constructions, multidimensional solutions in a wide variety of media. material essentialism, physiologic/kinesthetic approaches, and Same as F20 ART 309B performative aspects of drawing. Credit 3 units. Art: CPSC Same as F10 ART 302B Credit 3 units. Art: CDES, FAAM F20 ART 611 Painting Same as F20 511. Second-year MFAs (only) register for F20 ART 602D Drawing: Art Practice (Collage: History and F20 611. This course is an introduction to oil painting with Practice in Contemporary Art) an emphasis on the principles of color, construction and Same as F20 502D. Second-year MFAs (only) register for paint handling. Students will explore the possibilities of F20 602D. This course will examine the role of collage in representational painting as applied to still-life, interiors, contemporary studio practice. Students will be required to landscape and the human figure. The course is designed assemble an archive of images from various sources, found especially for beginning painters, but can accommodate painters at all levels of proficiency.
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Credit variable, maximum 6 units. EN: H Credit 3 units.
F20 ART 611D Painting: Art Practice (Special Topics: F20 ART 611T The Poetics of Image-Making: People, Place & Narrative Systems: The Frame, The Grid, The Screen) Space Same as F20 511D. Second-year MFAs (only) register for This painting elective course examines the poetics of image- F20 611D. This studio course focuses on various narrative making, with a focus on the representation of people, place, strategies in relation to painting's mythology and its function and space, both observed and invented. Students learn the in contemporary culture. Topics to include narrativity, the practice of painting and develop works through fundamental politics of lens and screen, invented fictions, social vs. virtual exercises as well as through the shared exploration of painting spaces, and site specificity. Instruction will encompass technical, processes. Work outside of class for the beginner is project- conceptual and creative skills for taking an individually conceived based; advanced students produce an independent body of project from idea to fruition. Students will be encouraged to work. Critical assessment of work is complemented by faculty consider traditional and alternative forms of painting as well as and peer discussions, readings, and field study. Required text: digital imaging, installation, net art, and so on. Lectures, critical "The Poetics of Space" by Gaston Bachelard. essays, and analysis of historical precedents and contemporary Credit 3 units. practitioners will support students in their course work. Required for a concentration in painting. F20 ART 611U The Language of Moving Images Credit 3 units. EN: H This course will examine the language of moving images, which includes -- among other elements -- shot construction, F20 ART 611F Painting: Art Practice (Language of sequencing, duration, sound integration, scale, and situational Abstraction) contexts. Through screenings, readings, lectures, discussions This course examines strategies of abstraction and non- and critiques, students will develop the skills required to objective image-making that originate in the painting studio, interpret moving images and to think about their productions, including those that are driven by concept, material, space and/ which may utilize forms other than video or film and include or process. Readings and discussion will examine the evolution installation components. This course is not focused on technical and history of abstraction and its present applications within a approaches, and students' creative work will be driven by contemporary studio practice. The course will engage students individual concerns and may be accompanied by written in both assigned and self-directed work that will enable them to analysis. Prerequisite: Digital Studio/Digital Design. experiment with a broad visual vocabulary while understanding Same as F20 ART 311U the relationship between form and content. Credit 3 units. Same as F10 ART 311F Credit 3 units. Art: CDES, FAAM F20 ART 612E Painting: Art Practice (Place and Space) Same as F20 512E - Second-year MFAs (only) register for F20 F20 ART 611G Painting: Art Practice (Place and Space) 612E. This course examines ideas of place and space — both Same as F20 511G - Second-year MFAs (only) register for F20 observed and invented — established through the surface and 611G. This course examines ideas of place and space — both materiality of paintings. Students develop a unique body of work observed and invented — established through the surface and through shared exploration of painting processes and materials, materiality of paintings. Students develop a unique body of work along with independent research. Critical assessment of work is through shared exploration of painting processes and materials, complemented by faculty and peer discussions, readings, written along with independent research. Critical assessment of work is critical analysis and field study. complemented by faculty and peer discussions, readings, written Credit 3 units. EN: H critical analysis and field study. Required for a concentration in painting. F20 ART 612F Painting: Art Practice (Language of Credit 3 units. Abstraction) Same as F20 512F. Second-year MFAs (only) register for F20 F20 ART 611J Painting: Art Practice (Figure Structure) 612F. This course examines strategies of abstraction and non- This rigorous painting/drawing course explores new objective image-making that originate in the painting studio, representations of the figure through its structure and including those that are driven by concept, material, space and/ contemporary contexts. Initial research involves anatomy or process. Readings and discussion will examine the evolution lectures and extensive sketchbook activities that provide a and history of abstraction and its present applications within a vehicle for discovering the figure's architecture, mechanics contemporary studio practice. The course will engage students and proportions. Students develop an independent body of in both assigned and self-directed work that will enable them to work accessing visual data from a variety of sources (paintings, experiment with a broad visual vocabulary while understanding photography, sculpture, memory, model sessions), with the the relationship between form and content. goal of developing expressive qualities with image-making. Credit 3 units. Art: FAAM Lectures, presentations, critical readings, and the analysis of historical and contemporary figurative works support students in their investigations. Required for the BFA in Art painting F20 ART 612G Painting: Art Practice (Body Image) concentration. Prerequisite: Painting Studio: Material and Same as F20 512G - Second-year MFAs (only) register for Culture. Open to BFA and BA students who have taken the F20 612G. This is a rigorous painting/drawing studio course prerequisite and others, including art minors and MFA students, investigating various methods of pictorial construction (historical, with permission of the instructor. contemporary) and the role of figuration in contemporary art Same as F10 ART 311J practice. Students will be required to produce an independent body of work based on a theme and generated from a variety
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of references (imagination, life, photography, painting, film, F20 ART 613I Sculpture: Metal Fabrication etc.) Discussions to include contemporary notions of identity Same as F20 113I, 213I, 413F - Juniors (only) register for F20 structures, social and gender politics. Lectures, critical readings 313I. Metal is the backbone of our modern world and a viable and the analysis of historical and contemporary modes of figural medium for self-expression. It can be employed as structure or representation will support students in their investigations. as surface, it can be plastically deformed to create compound Credit 3 units. shapes or it can be connected to most any other material. Students will explore the creative potential of this material in the F20 ART 612H Painting: Art Practice (Place and Space) fabrication of sculptural forms. Students learn to weld using both This course examines ideas of place and space -- both observed gas and electric arc machines as well as the safe operation of and invented -- established through the surface and materiality drilling, grinding and finishing tools. of paintings. Students develop a unique body of work through Same as F20 ART 313I shared exploration of painting processes and materials, along Credit 3 units. Art: FAAM EN: H with independent research. Critical assessment of work is complemented by faculty and peer discussions, readings, written F20 ART 613J Digital Fabrication for Object Making critical analysis and field study. This course explores the potential of digital tools in the creation Same as F10 ART 312H of tangible objects. We will focus on "component manufacture" Credit 3 units. Art: CDES as a means of sculptural production, i.e., creating linkages, universal fittings, and adaptors that connect disparate materials. F20 ART 612P Painting: The Painted Figure Toys, mechanical systems, and construction products will be This studio course is an introduction to the practice of painting, researched as a point of inspiration. Students will be introduced with an emphasis on the pictorial representation of the human to various modeling software such as Rhino, AutoCAD, and figure. Instruction will encompass a range of technical, SolidWorks and explore the potential of these platforms to conceptual and creative skills to be used for developing design 3-dimensional forms. A variety of output tools will be used projects. In-class projects will include working from the live but we will focus primarily on the planning for and use of laser model. Students will be encouraged to consider traditional and cutters, 3D printers, and CNC routers. We will develop, design, alternative forms of painting. Lectures, critical essays, and and manufacture components that, when combined with readily analysis of historical precedents and contemporary practitioners available materials, can be used to create sculptural forms. This will support students in their course work. No prerequisites. class will use iterative processes that move between digital and Same as F20 ART 312P analog model-making and sketching. Students will be introduced to the concept of kitbashing, and the modification of salvaged Credit 3 units. Art: FAAM and found parts. This course introduces these concepts to artists, designers, engineers, and anyone interested in exploring F20 ART 613F Sculpture: Foundry the possibilities of digital fabrication tools towards the creation of Same as F20 513F - Second-year MFAs (only) register for F20 sculpture. No prerequisites. 613F. The focus of this course is to introduce students to the Same as F20 ART 313J basic principles of bronze and aluminum casting according to the Credit 3 units. Art: FAAM lost wax method. Students will learn mold making, direct organic burnout, ceramic shell investment, metal chasing, and patination F20 ART 613M Sculpture: Art Practice (Sculptural Bodies) in order to create finished sculpture. In addition to metal casting, students will use other material such as plaster, resin, steel, This course investigates the socio-political issues of the body, wood, rubber, plastic and foam to create a mixed media project the figure and their potential in contemporary art practice. The that explores a specific idea or theme. Additional work outside term "body" is used as an organism, in an expansive way, to the regularly scheduled class time is required. investigate the metaphorical, physical, emotional, cultural, and spiritual bodies. A variety of media and methods are Credit variable, maximum 6 units. explored with an emphasis on 3-dimensional work and object- based performance. Lectures, demonstrations and readings F20 ART 613G Sculpture: Wood contextualize the potential of sculptural systems to constitute the Same as F20 513G - Second-year MFAs (only) register for F20 meaning of a contemporary body. 613G. The focus of this course is to introduce students to the Same as F10 ART 313M basic principles of wood sculpture with an emphasis on furniture Credit 3 units. Art: CDES, FAAM making. Credit variable, maximum 6 units. EN: H F20 ART 613P Sculpture: Art Practice (Iterative Systems) This course investigates iterative approaches to making as a F20 ART 613H Sculpture: Blacksmithing means to generate multiple works and ideas simultaneously. Same as F20 113H, 213H, 413H - Juniors (only) register for F20 Activities such as mold-making and nontraditional drawing will be 313H. This course is an introduction to Blacksmithing materials, explored along with other process-based methods of capturing tools, and techniques. Students will explore the fundamental thoughtful gestures. Through readings and discussions, students techniques of hand-forged metal. Metal can be manipulated as will engage with historical precedents and contemporary a plastic material and offers enormous possibilities for three- principles that support the creation of self-directed work informed dimensional form. In this class we will explore these possibilities by the iterative mindset. Required for the BFA in Art sculpture and expand our sculptural vocabulary. concentration. Prerequisite: Sculpture Studio: Material and Same as F20 ART 313H Culture. Open to BFA and BA students who have taken the Credit 3 units. Art: FAAM EN: H prerequisite and others, including art minors and MFA students, with the permission of the instructor. Same as F10 ART 313P
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Credit 3 units. F20 ART 614F Sculpture: Foundry Same as F20 114F, 214F, 414F - Sophomores (only) register for F20 ART 613Q Compositions in Clay F20 114F. The focus of this course is to introduce students to the In this course, students will broaden their understanding of clay basic principles of bronze and aluminum casting according to the as a viable medium of visual expression and three-dimensional lost wax method. Students will learn mold making, direct organic exploration. Students will learn basic hand-building techniques burnout, ceramic shell investment, metal chasing, and patination to create sculptural constructions, discover the practical in order to create finished sculpture. In addition to metal casting, applications of wheel throwing through form and function, and students will use other materials such as plaster, resin, steel, explore ceramic tools and equipment to create installation wood, rubber, plastic, and foam to create a mixed media project projects. Each student's skill level will be considered, and that explores a specific idea or theme. Additional work outside projects will be adjusted accordingly. Emphasis will be placed the regularly scheduled class time is required. on critical assessment and articulation of material. Same as F20 ART 314F Same as F20 ART 313Q Credit 3 units. Art: FAAM EN: H Credit 3 units. Art: FAAM F20 ART 614H Sculpture: Blacksmithing F20 ART 6143 Matter in Hand Workshop Same as F20 114H, 214H, 413H - Juniors (only) register for F20 Same as F20 5143. Second-year MFAs (only) register for 314H. This course is an introduction to Blacksmithing materials, F20 6143. All materials and processes carry meaning, so the tools, and techniques. Students will explore the fundamental choice of one material over another has an enormous impact techniques of hand-forged metal. Metal can be manipulated as on the celerity, power and resonance of your work of art. For a plastic material and offers enormous possibilities for three- example, the record of the evolution of human consciousness dimensional form. In this class we will explore these possibilities is forever embedded in the artworks and text designed, made and expand our sculptural vocabulary. and preserved in clay and paper. This course explores how Same as F20 ART 314H the work of the hand informs the work of the brain and how, Credit 3 units. Art: FAAM EN: H together, these activities find meaning in the mind. Through these and other processes and materials such as welded metal F20 ART 614I Sculpture: Metal Fabrication and cast glass, students will investigate how working with a Same as F20 114I, 214I, 413I - Juniors (only) register for F20 particular material influences their concepts and resonates in 314I. Metal is the backbone of our modern world and a viable the art they create. This 11-week course will investigate primary medium for self-expression. It can be employed as structure or materials (clay, glass, concrete, paper, metal) and processes as surface, it can be plastically deformed to create compound of art making. We will explore the manipulation of these to find shapes or it can be connected to most any other material. meaning at this point in our evolution. Emphasis will be placed Students will explore the creative potential of this material in the on individual student's investigation and experimentation. Each fabrication of sculptural forms. Students learn to weld using both student will investigate these materials conceptually, physically gas and electric arc machines as well as the safe operation of and emotionally in relationship to their own studio practice. Open drilling, grinding and finishing tools. to all Sam Fox graduate students with priority given to MFA Same as F20 ART 314I candidates. Sam Fox School undergraduates may enroll with Credit 3 units. Art: FAAM EN: H permission of instructor. Credit 1.5 units. F20 ART 614J Sculpture: Art Practice (Material as Metaphor) All materials carry meaning. This course familiarizes students F20 ART 6144 Matter in Hand Workshop with histories and fabrication processes intrinsic to sculpture. Same as F20 5144. Second-year MFAs (only) register for This course uses demonstrations and hands on experiences, F20 6144. All materials and processes carry meaning, so the primarily but not exclusively with metal and wood working choice of one material over another has an enormous impact processes to show how such materials inform a studio practice. on the celerity, power and resonance of your work of art. For Lectures and techniques contextualize an understanding of example, the record of the evolution of human consciousness pre-formed and found material as a formal and conceptual is forever embedded in the artworks and text designed, made component resulting in the final work of art. In a critical and preserved in clay and paper. This course explores how environment, students formulate their own material language and the work of the hand informs the work of the brain and how, defend their art practice and creative decisions. together, these activities find meaning in the mind. Through Same as F10 ART 314J these and other processes and materials such as welded metal Credit 3 units. Art: CDES, FAAM EN: H and cast glass, students will investigate how working with a particular material influences their concepts and resonates in the art they create. This 11-week course will investigate primary F20 ART 614K Sculpture Art Practice (Symbiosis) materials (clay, glass, concrete, paper, metal) and processes Same as F20 514K. Second-year MFA students (only) register of art making. We will explore the manipulation of these to find for F20 614K. This course explores numerous scenarios that meaning at this point in our evolution. Emphasis will be placed create different levels of sculptural interactivity from low to on individual student's investigation and experimentation. Each high tech. Students construct devices ranging from simple student will investigate these materials conceptually, physically mechanisms to large-scale installations fostering physical, and emotionally in relationship to their own studio practice. analogue or digital interaction between the viewer and the Credit 1.5 units. sculptural environment. Viewer-activated systems create multiple interactive platforms, initiating a responsive relationship between
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the sculpture and the viewer. Lectures, demonstrations and processes in intaglio, lithography, relief, and monotype. Students readings devise a broad understanding of the histories and are encouraged to work in response to the history of the print, potentials of symbiotic relationships between a work of art and its with an emphasis on mixed media and experimentation. This audience. class counts for the minor in art. Credit 3 units. Art: FAAM Credit 3 units.
F20 ART 614N Sculpture: Art Practice (Itinerant Artworks) F20 ART 615H Printmaking: Art Practice (Feedback Loop: Who said you can't take it with you? Itinerant Artworks is a Process and Print) course in which students create work in any medium that is Same as F20 515H - Second-year MFAs (only) register for F20 built for travel (not speed) and that can be set up, knocked 615H. This course focuses on variability, mutability, repeatability down, or installed in a variety of locations at a moment's notice. and play within the process of printmaking, using etching, Students will document their work at a range of sites throughout collagraph, monotype and digital methods. The course explores St Louis. For the final project, the class will stage an "off the grid" practices and contexts in printmaking as a contemporary art form outdoor exhibition in Forest Park. Typically, artworks are either and promotes advanced conceptual and technical development site-specific or are agnostic to their placement and location. through creative practice, readings, discussions and critiques. Itinerant Artworks proposes a third model, where an artwork Projects are self-directed and based on course topics that can be mobile, responsive, and highly adaptable to various engage different approaches to process-based work, ranging environments or sites. Itinerant Artworks is intended to be a from the improvisational to the systematic. Emphasis is placed response to the current condition for making and viewing art. on the shift from object to process, from the single manifestation Despite the unpredictable and ever-changing circumstances of to the series, from fixed to flux and back again. Required for a this moment, you can take it with you. concentration in printmaking. Same as F10 ART 314N Credit 3 units. Credit 3 units. F20 ART 616 Printmaking F20 ART 615 Printmaking Same as F20 116, 216, 416. Juniors (only) register for F20 Same as F20 115, 215, 415. Juniors (only) register for F20 316. Survey of printmaking covering basic processes in intaglio, 315. Survey of printmaking covering basic processes in intaglio, lithography, relief and monotype. Emphasis on mixed media and lithography, relief, and monotype. Emphasis on mixed media and experimentation with a foundation in traditional, historical and experimentation with a foundation in traditional, historical, and philosophical aspects of printmaking. Students are encouraged philosophical aspects of printmaking. Students are encouraged to work at a level suited to their individual technical skills and to work at a level suited to their individual technical skills and conceptual interests. conceptual interests. Same as F20 ART 316 Same as F20 ART 315 Credit 3 units. Art: FAAM EN: H Credit 3 units. Art: FAAM EN: H F20 ART 616G Printmaking: Art Practice (Extra-Dimensional F20 ART 615B Printmaking: Art Practice (Propaganda to Printmaking) Decoration) Pushing the boundaries of printmaking, prints move beyond the This course uses the print multiple as a starting point to wall and into sculpture, installation, and time-based work. Relief, explore a continuum that runs from propaganda to decoration. silkscreen, and intaglio processes are explored with an emphasis The fundamental attributes of the multiple, including its on print as theatre, object, and immersive environment. Through accessibility and repeatability, arc from private to public and readings and discussions, students will engage with historical from political to aesthetic. Reproduction, distribution, urban precedents and contemporary principles that support the communication, social space, intervention and site specificity are creation of self-directed work that is extra-dimensional in explored through course lectures, readings, and discussions. physical and conceptual scope. Collaboration, exchange, and relational practices provide Same as F10 ART 316G frameworks for self-directed projects using traditional and Credit 3 units. Art: CDES, FAAM alternative techniques in print media including lithography, screen-printing, stencils, and photocopy. Required for the BFA in Art Printmaking Concentration. Prereq: Printmaking Studio: F20 ART 616T Printmaking for Architecture and Art Students Material and Culture. Open to BFA and BA students who have This course will focus on monotype mixed media printmaking taken the prerequisite, and others, including minors and MFA using both a press and digital print processes. The course students, with consent of instructor. is designed to be responsive to current issues with a Same as F10 ART 315B focus on contemporary printmaking practices and various Credit 3 units. Art: FAAM EN: H ideas about dissemination in the age of social media. The course will include an examination of historical examples of diverse global practices; prints made in periods F20 ART 615F Printmaking: Call and Response of uncertainty, disruption, war, and disaster; and speculative In music, a call and response is a succession of two distinct projects by architects such as Superstudio, Zaha Hadid phrases usually written in different parts of the music, where Architects and Archigram. Students will be expected to create the second phrase is heard as a direct commentary on or in a series of work with a conceptual framework developing response to the first. Printmaking: Call and Response is a a personal visual language. survey of printmaking with a foundation in traditional, historical, Same as F20 ART 316T and philosophical aspects of printmaking. It will cover basic Credit 3 units. Art: FAAM
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F20 ART 617H Photography: Art Practice (Methods of vanity and status continue to be relevant to contemporary Distribution) practice. Primarily a drawing class, students combine the Same as F20 517H - Second-year MFAs (only) register for F20 study of contemporary portrait artists with a studio practice that 617H. One of the most effective aspects of the photographic encourages development of a unique voice. Students consider image today is its speed. The way that physical and virtual how pose, gesture, lighting and other factors work together to images are presented and distributed has changed significantly support their intentions. Initial assignment prompts progress to since the initial branding of photography as the medium of guided, independent pursuits. Students will be encouraged to reproducibility. This class focuses on photography-based experiment with image, materials, and processes. Live models uses of the image through various distribution formats like the will be used as well as other source material. book, the poster, the newspaper, television, web, design, film, Same as F20 ART 317N apparel, architecture, music, etc. The students make, read, Credit 3 units. Art: FAAM look, listen, and experience 20th- and 21st-century photography practitioners who engage a range of disciplines and methods F20 ART 617P Drone Photography of distribution as they try to synthesize methods/models of their This combination studio and discussion-based course examines own. Rigorous student project critiques are complemented with the use of small unmanned aerial systems (sUAS) — otherwise discussions, writing assignments, and readings on media theory known as drones — as a photographic medium. Studio sessions and contemporary uses of photography outside of the traditional will introduce students to sUAS operation, various editing exhibition-based contexts. platforms, and output strategies. Lecture and discussion Credit 3 units. EN: H sessions will examine FAA regulations, the ethical implications of sUAS use by visual artists, and the rise of sUAS in the visual F20 ART 617L Photography: Art Practice (Constellations, arts within the context of the history of aerial photography. All students will produce a body of work using drone capture as Sequences, Series) the primary medium. In order to ensure equal access to sUAS, Same as F20 517L - Second-year MFAs (only) register for students will be required to meet outside of class sessions. F20 617L. Series are the prevalent method for exhibiting Same as F20 ART 317P photographic images. Through assignment-based and self- Credit 3 units. Art: CPSC, FAAM EN: H generated projects, students discover how photographic series are conceptualized, structured and sequenced. Special attention is given to the material meaning embedded in print size, order F20 ART 617Q Context, Curation, Communication: Seriality and spatial placement. The course provides in-depth coverage in the Photographic Image of image capture through medium-format analog and full-frame Series and sequences are the prevalent method for exhibiting digital systems as well as intermediate digital editing and printing photographic images. Through assignment-based and self- techniques. Students also explore various documentary and set- generated projects, students discover how photographic up strategies through narrative and non-narrative photographic series are conceptualized, structured, and sequenced. Special approaches. Through a rigorous critique structure, course attention is given to the material meaning embedded in print readings and critical writing, students engage the historical size, order, and spatial placement. The course provides in- discourse surrounding the series as a tool for artistic expression. depth coverage of image capture through medium-format analog Credit 3 units. and full-frame digital systems as well as intermediate digital editing and printing techniques. Students also explore various F20 ART 617M Architecture Through the Photographic Lens documentary and setup strategies through narrative and non- Same as F20 117M, 217M, 417M - Juniors (only) register for F20 narrative photographic approaches. Through a rigorous critique 317M. Photography offers ways of seeing and representing the structure, course readings, and critical writing, students engage world around us. This course provides technical and conceptual the historical discourse surrounding the series as a tool for frameworks for understanding architectural space as seen artistic expression. through the camera. Topics include building as site, landscape Credit 3 units. as context, and the architectural model as a representation tool. Students are introduced to a wide range of artists and F20 ART 617R Art Practice: Photography (Black-and-White architects, helping build a unique camera language to support Master Printing) their individual projects. Students will learn DSLR camera basics, This course offers an introduction to black and white master fundamentals of Photoshop, digital printing techniques and printing techniques for analog and digital outputs. The first part of studio lighting for documenting architectural models. The course the course will focus on advanced darkroom techniques, as well assumes no prior experience with digital imaging technologies or as the use of developers, papers, and toners. The second part materials. Digital camera required. of the course will cover advanced digital b/w strategies, including Same as F20 ART 317M quadtone RIPs, specialty papers, and Photoshop workflows. Credit 3 units. Art: FAAM In addition to technical demonstrations, course lectures will look at the role master printers have played in the history of F20 ART 617N Contemporary Portraiture photography. Visits to the Mildred Lane Kemper Art Museum Same as F20 117N, 217N, 417N - Juniors (only) register for F20 and The St. Louis Art Museum print rooms will compliment 317N. Historically, portraits were painted of the royal or wealthy lectures and activities. All students will develop a portfolio of to document an accurate likeness and display status and power. personally-driven work in black and white. Required for the BFA But with the advent of photography, artists were freed to develop in Art Photography Concentration. Prereq: Photography Studio: interpretations in style, process and medium. With subjects Material and Culture. Open to BFA and BA students who have such as family, friends, strangers, celebrities, or self, the portrait taken the prerequisite, and others, including minors and MFA has been used to reflect culture, identity, and the relationship students, with consent of instructor. between the artist and sitter. Issues of race, sexuality, gender, Same as F10 ART 317R
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Credit 3 units. anthropology, this course considers how a relationship to place is constructed. We will also consider displacements throughout history and value systems embedded in the construction of F20 ART 618J Photography: Art Practice (Slow Image: Large a sense of place. Is one's relationship to place personal? Format Photography) Is it collective, is it cultural, is it rooted in the surrounding Same as F20 518J - Second-year MFAs (only) register for F20 environment? What are the marks that define a sense of place, 618J. This course provides an in-depth study of the large format and is there residue or lingering evidence that can be perceived? analog camera and its unique formal position. Using the 4"x5" The medium of photography has unique capacities to address format, students examine this slow, high fidelity photographic these questions. This studio course builds knowledge through medium both technically and conceptually. Students employ a photographic practice with accompanying readings, seminar comprehensive photographic process, including loading sheet discussion and guided assignments. Students will participate film, applying the zone system, scanning large format film, in an active process of exploring diverse concepts of place in editing digital images, and creating large format digital inkjet relationship to the built environment. Students will be introduced prints. Class activities include rigorous student project critiques, to a range of ways of making and thinking about the subject as well as reading and discussion elements focusing on the of place, including looking at place as site, as geography, as history of large format and its contemporary descendants in the memory, as non-place, as urban space, as rural space, as Dusseldorf School, abstract photography and installation art community, and as ecological site. No formal photographic contexts. Class participants investigate the role of high fidelity training is necessary. Students will be introduced to the basics of images. Assignments may address portraiture, still life, interior camera operation, Photoshop and Lightroom software for editing and exterior architecture, landscape, and abstract photography. and the fundamentals of digital print output for fine art printing Large format 4"x5" cameras will be available for use. will be covered. Credit 3 units. EN: H Same as F10 ART 318Q Credit 3 units. Art: CDES, FAAM F20 ART 618K Photography: Art Practice (Documentary Photography & Social Practice) F20 ART 619 Ceramics Same as F20 518K - Second-year MFAs (only) register for Same as F20 519 - Second-year MFA students (only) register for F20 618K. This course focuses on the various philosophical, F20 619. An introduction to the design and making of functional aesthetic and technical approaches to photographing the pottery as well as sculptural objects. Students learn basic contemporary, human-altered landscape and the communities forming processes of the wheel, coil and slab construction. we live in. Through slide lectures, field trips, in-depth critique While the emphasis is on high-fired stoneware, students will and supervised lab work, students are expected to increase their be introduced to Raku and soda firing. Content and advanced awareness of how their own personal responses relate to those processes and skills are encouraged according to the individual's of other photographers with the same contemporary issues of level. documentary photography. A project-based seminar focusing on Credit 3 units. EN: H objectivity of the photographic document. Credit 3 units. Art: FAAM F20 ART 619J Structural Ceramics This course is designed for advancing study in 3D practices F20 ART 618P Photography: Art Practice (Art, Environment, within clay processes and in sculpture. Several techniques in Culture & Image) clay will be explored, and hand-building will be emphasized. The medium of photography offers multiple ways to engage with Methods of creating will include coiling, slab building, casting, critical social, political and environmental issues. Throughout and subtractive modeling. In this course, we will understand this course, a wide range of photographic tools and modes of and research clay as a material that engages in structure and production will be explored, including digital and film-based introduces new sculptural ideas that define scale, balance, materials and a variety of printing techniques. The course will form, and so on. Surface design with cold finishes and glazes, also consider the integration of alternative methods of lens- firing processes, and mold making will be explored as means of based communication and working to construct images within building and finishing content. Discussions and presentations relevant contexts of meaning. Through presentations and will focus on the history and contemporary traditions of ceramic readings, students will be introduced to a range of contemporary structures and sculptures. Emphasis will be placed on the critical artists working with essential topics such as climate change, assessment and articulation of material. ecological sustainability, energy production and extraction, and Same as F20 ART 319J the human body and technology. Students will work to build a Credit 3 units. Art: FAAM final and self-directed project identified through their ongoing research and image production. Required for the BFA in Art F20 ART 620 Ceramics photography concentration. Prerequisite: Photography Studio: Same as F20 120, 220, 420. Juniors (only) register for F20 320. Material and Culture. An introduction to the design and making of functional pottery Same as F10 ART 318P as well as sculptural objects. Students learn basic forming Credit 3 units. Art: CDES, FAAM processes of the wheel, coil and slab construction. While the emphasis is on high-fired stoneware, students will be introduced F20 ART 618Q Photography: Art Practice (A Sense of Place to Raku and soda firing. Content and advanced processes and or Understanding Place Through Photography) skills are encouraged according to the individual's level.An introduction to the design and making of functional pottery This course explores the concept of "place" and the cultural as well as sculptural objects. Students learn basic forming implications that accompany the definitions of "place." Working with photography and taking inspiration from the fields of geography, environmental studies, urban design and cultural
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processes of the wheel, coil and slab construction. While the this moment, with the potential to become a significant part emphasis is on high-fired stoneware, students will be introduced of an international conversation. Even beginning filmmakers to Raku and soda firing. Content and advanced processes and can give voice to issues that will be included in the historical skills are encouraged according to the individual's level. record. Students will learn about or improve their cinematic Same as F20 ART 320 aesthetics and professional video editing skills by making three Credit 3 units. Art: FAAM EN: H short videos. Same as F20 ART 328E F20 ART 625J Sculpting Realities Credit 3 units. Art: CPSC, FAAM This course investigates new digital technologies -- particularly mixed, augmented, and virtual reality -- through the F20 ART 629C Time-Based Media: Art Practice (Mediated consideration of one critical question: "What does it mean to Performance) be real?" Students will learn the basics for making works of Same as F20 529C - Second-year MFAs (only) register for F20 art, design, and architecture in alternative realities through 629C. This course explores the body as a time-based medium 3D scanning, 3D modeling, and immersive world building. In and a vehicle of expression that interacts with cinematic and addition to tutorials and multidisciplinary collaborative studio sound technologies, undergoing gradual semantic, virtual and projects, students will investigate issues of reality and the visceral transformations. Students create performance-based use of alternative reality tools through readings, discussions, video and sound works that are mediated with electronic/digital presentations, and other dialogues. The semester will culminate technology and performed or screened in public. Collaborative, in a final project that translates a physical experience or artifact individual political and poetic actions and happenings are into a digital one. encouraged. Students focus on the production of conceptually Same as F20 ART 325J rigorous and technically convincing work that embodies their Credit 3 units. Art: FADM performative, experimental and individually designed ideas. Projects are informed by readings in media theory, writing F20 ART 627A History of Photography assignments, and active participation in critiques of works by Same as F20 527A - Second-year MFAs (only) register for contemporary media artists. F20 627A. Survey of the history of photography and a look Credit 3 units. EN: H at the medium from the camera obscura to contemporary developments. Social and technological developments examined F20 ART 629L Time Based Media: Art Practice (Expanded in terms of their influence on the medium. Cinema) Credit variable, maximum 6 units. EN: H Focusing on experimental approaches to digital filmmaking this course offers opportunities for independent producers arising F20 ART 628A History of Photography from hybrid media interests. Expanded Cinema encourages and Same as F20 528A - Second-year MFAs (only) register for supports a variety of cinematic concepts, from non-narrative to F20 628A. Survey of the history of photography and a look documentary and activist approaches. Instruction will encompass at the medium from the camera obscura to contemporary technical, conceptual and creative skills for taking an individually developments. Social and technological developments examined conceived project from idea to fruition. in terms of their influence on the medium. Same as F10 ART 329L Credit variable, maximum 6 units. Art: FAAM EN: H Credit 3 units. Art: CDES, FAAM, FADM
F20 ART 628C Documentary Film F20 ART 630I Time-Based Media: Art Practice (New Media in This course investigates techniques of powerful nonfiction filmic Art) storytelling that symbiotically merges visual and literary narrative Same as F20 530I. Second-year MFAs (only) register for F20 devices. We will explore the organic process of research, 630I. Exploring the intersection of art and technology, the course interaction and craft to construct three short films. Students will focuses on the phenomenon of time as an artistic medium and be encouraged to go beyond apparent subject matter to inquire as the subject of work. Through the production of time-based into deeper/underlaying content that touches on timelessness works in a virtual realm, students learn about compositional and global/human topics. Within set parameters, students choices, narrative and non-narrative strategies, and ethical and choose their own filmic topics and structures. Graduate and political responsibilities that artists and artist collectives face in undergraduate students can form teams or work independently the 21st century. Students gain exposure to selected software as their own producer, writer, director, cinematographer, editor as it pertains to their individually designed projects. Readings, and sound recordist. No previous experience required. writing assignments and an active participation in critiques of Same as F20 ART 328C works by contemporary new media artists will be part of this Credit 3 units. Art: FAAM seminar. Credit 3 units. Art: FAAM F20 ART 628E Making Documentaries in the Time of Covid Documentary video is a powerful tool to spotlight the frustrations and triumphs of our daily lives. Unlike fiction films, the inquiry and the questions that start the process of making a documentary end up as an adventure and often the film itself. Many filmmakers discover unexpected answers, reveal hidden histories, humanize previously one-dimensional characters, and spotlight even more in-depth questions. The global pandemic offers a unique opportunity to create videos that acknowledge
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F20 ART 630L Time-Based Media: Art Practice (Expanded sets include development, character design, 3D modeling, Cinema) rigging, visual effects, sound, and rendering. No prerequisites By focusing on experimental approaches to digital filmmaking, or previous experience required. This course can be taken this course offers opportunities for independent producers arising multiple times at either the beginner or advanced level, and it from hybrid media interests. Expanded Cinema encourages and is open to students of all levels across the university. Graduate supports a variety of cinematic concepts, from non-narrative to and advanced students can build independent projects with documentary and activist approaches. Instruction will encompass permission of the instructor. technical, conceptual and creative skills for taking an individually Same as F20 ART 335K conceived project from idea to fruition. Credit 3 units. Art: FADM Same as F10 ART 330L Credit 3 units. Art: CDES EN: H F20 ART 636A Interaction Design: Understanding Health and Well-Being F20 ART 633K The Illustrator's Sketchbook Same as F20 236A, F20 436A - Juniors (only) register for F20 The sketchbook has long been seen as the artist's personal 336A. Through a blend of presentations from practitioners, playground. In this course, students will be making images that classroom lectures, readings, discussion and hands-on explore concepts and visual narratives--but the raw materials for exercises, this class will engage principles and methods of these illustrations will come from exploration inside the pages of interaction design within the context of health challenges. their sketchbook. This course will develop a discipline of daily Broadly defined, interaction design is the practice of designing drawing. In addition to sketchbook work, project assignments products, environments, systems, and services with a focus will include both conceptual and applied projects like illustrated on behavior and user experience. We will take on an in-depth book jackets and short stories. Significant time will be spent in challenge in the area of health and well-being and work in cross- media exploration, development of technique and professional disciplinary design teams with an external partner organization. practices. Students will gain experience in planning and executing a human Same as F10 ART 433K centered design process featuring research, ideation, synthesis, Credit 3 units. Art: CDES concept development, prototypes and a final presentation, which may include visual design, animation, and sound. Students will work in teams to develop several intermediate F20 ART 633L Applied Illustration project deliverables, such as prototypes and sketches. No This course will explore drawing and conceptual development prior coursework is necessary though experience with Adobe in the landscape of professional picture-making and illustration. Photoshop, Illustrator and InDesign are helpful. Using the lens of an applied professional process, students will Same as F20 ART 336A make work that explores and establishes an artistic viewpoint. Credit 3 units. Art: CPSC, FADM EN: H Focused research, idea development, formal experimentation, and class critique are vital to these goals. Using this contextual practice, students will advance toward the development of an F20 ART 636J Introduction to Animating in Three individual voice. This course is applicable to anticipated career Dimensions directions in image making, illustration, comics, picture books Same as F20 536J - Second-year MFA students (only) register and visual storytelling. Prerequisite: Communication Design: for F20 636J. This course explores 3D animation in the short Word & Image II or permission of instructor. film format. Students move from an overview of the process Same as F10 ART 433L and visual vocabulary of animation to defining filmic ideas, the Credit 3 units. Art: CDES, FADM visual gag, and character-driven content. Cinematic shot design, timing, character design, and sound design are studied for determining the most effective means of communicating desired F20 ART 635J Introduction to Animating in Three content. Hand drawn sketches are imported into a 3D animation Dimensions program as the basis to model and animate characters, create Same as F20 535J - Second-year MFAs (only) register for F20 settings, and add special effects. An animated sequence is 635J. This course explores 3D animation in the short film format. produced to show evidence of personal inquiry and level of Students move from an overview of the process and visual expertise. vocabulary of animation to defining filmic ideas, the visual gag, Credit 3 units. EN: H and character-driven content. Cinematic shot design, timing, character design, and sound design are studied for determining the most effective means of communicating desired content. F20 ART 636K Communication Design II Hand-drawn sketches are imported into a 3D animation program Same as F20 536K - Second-year MFAs (only) register for F20 as the basis to model and animate characters, create settings, 636K. This course continues the elements of communication and add special effects. An animated sequence is produced design in a more professional context. Students will advance to show evidence of personal inquiry and level of expertise. their understanding of concept development and visual Prerequisite: Drawing or equivalent or permission of instructor. execution. They will also examine contemporary professional Credit 3 units. EN: H work in the field and will be introduced to the business of the profession, including work with clients. Course work will integrate fundamental design skills with business presentations and F20 ART 635K Animated Worlds team-based projects. The final course assignment will come This course explores traditional and experimental 3D animation from an external firm. Students will work in groups and make a in a short film format. Beginning students will learn polygon professional presentation to the client. and NURBS modeling, texturing, lighting, rigging props, and Credit 3 units. EN: H characters in Maya. A storyboard, animatic and final rendered short will be developed for two major projects. Advanced skill
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F20 ART 636L Animated Worlds and bookbinding techniques will be covered. Open to all Sam This course explores traditional and experimental 3D animation Fox graduate students with priority given to MFA candidates. in a short film format. Beginning students will learn polygon Sam Fox School undergraduates may enroll with permission of and NURBS modeling, texturing, lighting, rigging props, and instructor. Prerequisites: none. characters in Maya. A storyboard, animatic and final rendered Credit 1.5 units. short will be developed for two major projects. Advanced skill sets include development, character design, 3D modeling, F20 ART 647T Artist's Book rigging, visual effects, sound, and rendering. No prerequisites This course will examine the role of the book as an artifact of or previous experience required. This course can be taken material culture. We will investigate definitions of the artist's book multiple times at either the beginner or advanced level, and it and current uses of the book form as metaphor in contemporary is open to students of all levels across the university. Graduate art. We will look at the work of artists such as Anselm Kiefer, and advanced students can build independent projects with Ann Hamilton, Rachel Whiteread, Kiki Smith, William Kentridge, permission of the instructor. Sophe Calle, Dieter Rot, and many others. In addition, we will Same as F20 ART 336L look at the role of artist's books and publications in many 20th- Credit 3 units. Art: FADM century artistic movements. Course projects will center around the exploration of various types of editioned artworks, such as F20 ART 6444 The Art of Community Engagement Project artist's multiples, mail art, zines, and more. Same as F20 5444 - Second-year MFAs (only) register for F20 Same as F20 ART 347T 6444. This course consists of a public art project completed Credit 3 units. in association with underserved communities in St. Louis. Works of art will be proposed and executed during the course's F20 ART 651A Sound Environments duration. Students will engage with various communities in This course explores sound and musical composition in a digital creative collaborative research and thinking, resulting in work, format, functioning as a sculptural, spatial, psychological, and which reflects and honors the cultural aesthetic and ecological architectural intervention. The course offers an introduction to values of the specific community. Each student will present their current sound art practices and examines how sound projects concepts to a committee from the institution. Each student will be are capable of altering our sense of space and time. Sonic space given a modest budget to support the production and installation necessarily touches upon experimental music and installation art of their work. Course will involve guest speakers, individual as closely related to sound art. The course introduces students research, site visits and group discussions. to basic methods of sound recording and editing software and Credit 1.5 units. hardware, with the goal of composing sound works for space and for headphones. Readings pertaining to current developments F20 ART 6445 Art & Community Engagement in contemporary experimental music and sound art as well as This 11-week course consists of public art projects completed in regular writing assignments accompany the course. association with underserved communities in St. Louis. Works of Same as F20 ART 351A art will be proposed and executed during the course's duration. Credit 3 units. Art: FAAM EN: H Students engage with communities in creative collaborative research and thinking, which results in works that reflect and F20 ART 652B Performing Solitude honor the cultural aesthetic and ecological values of the specific Performing Solitude is a new elective studio with elements community. Each student will be given a modest budget to of a seminar, and it is open to students from across campus support their concept. The course involves guest speakers, and suited most for upper-level undergraduates and graduate individual research, site visits, and group discussions. students in art, architecture, performing arts, music, and film & Credit 1.5 units. media studies departments. Performing Solitude invites students who are interested in creating interdisciplinary works that merge F20 ART 644A Animation Tools and Methods performance art with other forms of expression, including visual, This course introduces a range of digital and analog production digital, acoustic, textual and cinematic. Working with their own techniques for the practice of animation. It will also present performing selves as a material in their art -- and with domestic fundamental concepts and issues that define this creative form. or landscape space -- students will be invited to reconsider Prerequisite: Digital Studio or permission of instructor. what performance art means in the age of a post-global, post- Same as F20 ART 344A pandemic and post-digital universe in which the biological Credit 3 units. Art: FAAM, FADM environment, including nature and their own bodies as part of it, continues to enact gestures and make aesthetic statements set against global histories. This studio incorporates elements F20 ART 6461 BookLab of a seminar by way of discussing histories of performance art, Same as F20 5461. Second-year MFAs (only) register for performativity, and rituality as well as by supportong individually F20 6461. This course will address several alternative forms guided research and collaboration. During the semester, of the book and the effect they have on shaping content. We students will create two major performance-based works that will pay particular attention to the concept of authorship in incorporate other media of choice, such as film, music, text, or contemporary artists books, which will be supported by visits installation. Student work will be documented and demonstrable to the Olin Library Special Collections. Using the materials and in their portfolios. Several smaller improvised or in-class equipment in the Kranzberg Book Studio, students will work assignments will lead toward a final project accompanied by an with the instructor to explore the origination and shaping of artist text. Readings, lectures and invited guests will accompany content through form. Letterpress, alternative print process, this studio. Same as F20 ART 352B Credit 3 units. Art: FAAM
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theoretical, and creative texts by Marx, Baudrillard, Bourdieu, F20 ART 662 Why Art Matters Sontag, and others alongside concrete visual and material This lecture and discussion course will examine how art, which objects. Students will produce responsive writing and conduct productively utilizes ambiguity and discontinuity, is a distinctive individual research. form of expression and communication. Functioning not as Credit 3 units. a bearer of meaning but rather as a shaper of meaningful questions, art invites interpretation and introspection. As such, F20 ART 678 Contemporary Discourses: Art + Feminism art -- which often functions to rekindle perception and give rise to This course investigates the impact of feminism on contemporary new ways of thinking about and being in the world -- empowers art, focusing on artwork produced between the 1960s and the individual thought, encourages empathy, and celebrates the present day. Through an examination of global practices in diversity of ideas and opinions that are vital to conditions of a wide range of media, including artworks in the university's freedom. With this in mind, multimedia lectures will explore the Kemper Museum collection, students will delve into innovative perspectives of contemporary artists (e.g., James Turrell, Cerith aesthetic strategies that criticize assumptions of gender, race Wyn Evans, Wangechi Mutu), psychologists (e.g., Winnicott, and social class and consider the intricate tie between the Frankl, Freud), philosophers (e.g., Heidegger, Bataille, Merleau- identity of the author and the content of the work. This course Ponty), linguists (e.g., Lacan, Pierce, Saussure), sociologists, is taught by a practicing artist, who together with the students cognitive scientists, cultural theorists and others. In addition, will uncover historical developments and epic omissions. This readings, discussions, in-class group interpretations and written is a lecture course with a discussion component. Requirements critical analysis will provide students with the tools required to include participation in weekly discussion sections, regular understand how art, which is a distinctive form of expression response papers, and a final written curatorial project. No and communication, matters; it matters, as Bill O' Brien argues, prerequisites in Art or Art History required. because it teaches us how we matter. Same as F20 ART 378 Same as F20 ART 362 Credit 3 units. Art: CPSC, FAAM EN: H Credit 3 units. Art: VC EN: H F20 ART 6783 Special Topics in Visual Culture: Introduction F20 ART 663 Thesis Seminar: Giving Form to Opinions to Illustration Studies This seminar provides second-year students in the Graduate Same as F20 5783 - Second-year MFAs (only) register for School of Art with the opportunity to respond to critical positions F20 6783. How have knowledge, opinion, and feeling been in modern and contemporary art practice. The course uses communicated visually from the advent of automated printing touchstone issues to sharpen the student's skills in research and presses to the invention of the internet, and to what effect? analysis and to accustom the students to writing on a regular Using concepts in visual studies and communication studies, basis. Writing assignments and presentations throughout the this course explores the histories of primarily American visual- semester — based on assigned critical readings — will help verbal texts to investigate how minds and hands conceived, prepare the student's critical positions with respect to their thesis produced, distributed, and consumed illustrated print media in projects. the 19th and 20th centuries. Beginning with the neurological Credit 3 units. Art: GFAH basis of vision, we will examine ways culture affects perception, how print technologies shape content, how word and image F20 ART 6713 Introduction to Book Binding rhetorically shape beliefs, how power relations imbue images Same as F20 1713, 2713, 4713. Juniors (only) register for and publishing, and the ways counterculture forms such as F20 3713. This class will serve as an introduction to the book caricature and posters can be used to intervene socially. as artifact of material culture. A variety of traditional and non- Students will conduct original research using University Libraries traditional book structures will be explored. Students will learn Special Collections to hone their ability to write convincingly and from historical approaches to constructing the codex form professionally about imagery. No prerequisites; counts toward including the single signature pamphlet, the multi-signature design minor. case binding, the coptic, and the medieval long stitch. Students Credit 3 units. will learn Japanese binding and its many variations. Several contemporary variations will be introduced, including the tunnel, F20 ART 6851 Art-ivism the flag book, the accordion and the carousel. Students will Same as F20 5851. Second-year MFAs (only) register for explore the visual book using found imagery and photocopy F20 6851. What is art-ivism? It seems appropriate that a new transfers, and will produce a variety of decorated papers to be word be invented to identify strategies used by artists to raise used in their bindings. questions and seek answers to some of the most pressing Same as F20 ART 3713 issues of our day. This workshop is a series of conversations, Credit 3 units. Art: FADM EN: H readings, and brainstorming sessions for graduate students whose studio practice touches on the intersection of art and the F20 ART 675 Readings in Visual and Material Culture political. We will begin with questioning and seeking answers "No ideas but in things." Taking as a point of departure this in the studio that then generate more questioning. What famous line from a William Carlos Williams poem, which is does this historical and geographic moment in time signify often said to express the poet's commitment to a creative for each of us as individuals and as members of a collective practice rooted in tangible things (as opposed to abstractions, community? As individuals, we stand in our own truths, and formalism, a given subject matter or politics, and so on), this this can be empowering. As artists, how can we activate our course explores the idea/thing relationship as it has come to be passions toward actuality, and how can this be contagious for understood in the past century. Studying influential theories of our "audience" through the actions and objects generated from visual and material culture, this course will engage historical, our studio practice? What challenges does activist art present in your studio? Is art a mirror of culture, or can it be a producer of
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culture? Does art have the power to change culture? Can artists be agents of history? To culminate this workshop, graduate Sam Fox School of Design & students will present their work as aligned with contemporary issues and as an open inquiry to how their studio practice may Visual Arts be a tool for social change. Open to all Sam Fox graduate The Sam Fox School of Design & Visual Arts (http:// students, with priority given to MFA candidates. Credit 1.5 units. samfoxschool.wustl.edu) is a unique collaboration in architecture, art, and design education, linking professional F20 ART 685B Beyond Words, Beyond Images: studio programs with one of the country's finest university Representation After History art museums in the context of an internationally recognized The seminar focuses on art in the public domain and examines research university. contemporary practices that engage public memory and the The Sam Fox School is composed of the College of Architecture, meta-city. Prompting students to consider their own practice in the context of public space, the seminar offers examples of the Graduate School of Architecture & Urban Design, the projects that contribute to global cultural and political discourse. College of Art, the Graduate School of Art, and the Mildred Lane Weekly illustrated lectures, readings, writing assignments, Kemper Art Museum (http://www.kemperartmuseum.wustl.edu/). screenings, discussions, and individual research lead toward the final term paper. Individual studio consultations serve as Website: http://samfoxschool.wustl.edu a platform for the discussion of students' evolving practice, leading toward the final project in a medium of choice. MFA VA students and graduate students in architecture are especially MFA in Illustration & Visual welcome. This is an upper-level course open to juniors, seniors, Culture and graduate students only. Same as F20 ART 385B The Master of Fine Arts (MFA) in Illustration & Visual Culture Credit 3 units. Art: FAAM, GFAH, VC (https://www.mfaivc.samfoxschool.wustl.edu/) program explores the idea of illustration authorship by combining studio practice F20 ART 685D Art Seminar: Fantastic Voyage and Scales of in illustration with curatorial training in visual and material Wonder culture. This program is ideal for illustrators, designers and those Affective encounters with scale -- encounters that make us interested in working with popular visual matter of the modern aware of our bodies in relationship to the world around us -- occur broadly throughout human experience, from viewing period to discover how it was made and by whom, who it was for, miniature particles through the lens of a microscope to and how it remains relevant today. wandering through monumental architectural environments. Undeniably, scale and affect are integral to the lived experience This is a two-year residential program. Graduates of the program and to the ways in which art, design and the built environment will be prepared to work as author-artists of graphic novels and have developed over the past half century. Through lectures, picture books; professors of illustration; critical writers on popular discussions, and critical readings, Fantastic Voyage and Scales culture; and curatorial staff in museums, libraries and auction of Wonder will examine scale as a central theme to explore our encounters with built environments and designed objects alike. houses. Readings and discussions will span media archeology and affect The program is built on the strengths and expertise of the theory. This seminar will also examine the impact of such works as Charles and Ray Eames's 1968 documentary "The Powers of Sam Fox School’s illustration and design faculty as well as Ten" and the 1966 cult film "Fantastic Voyage" (which inspired the vast visual culture resources of Washington University, Isaac Asimov's science fiction novel of the same name) on art, including the D.B. Dowd Modern Graphic History Library (https:// design and architecture today. library.wustl.edu/collecting-area/mghl/), a preeminent site for Same as F20 ART 385D studying the history and culture of American illustration. Credit 3 units. Art: FAAM, FADM
F20 ART 692A BookLab Website: https:// Same as F20 592A. Second-year MFAs (only) register for F20 www.mfaivc.samfoxschool.wustl.edu/ 692A. This course will address several alternative forms of the book and the effect they have on shaping content. We will pay Faculty particular attention to the concept of authorship in contemporary artists' books, which will be supported by visits to the Olin Library Our faculty (http://samfoxschool.wustl.edu/node/4159/) are Special Collections. Using the materials and equipment in the practicing artists and designers who engage in projects Kranzberg Book Studio, students will work with the instructor to explore the origination and shaping of content through internationally, nationally and regionally. They exhibit their work form. Letterpress, alternative print process, and bookbinding in museums, galleries and other venues. They engage a variety techniques will be covered. of audiences, receive critical review in periodicals, publish their Credit 1.5 units. own writing and produce documentaries. Others produce site- specific performances and lead community-based programs. Their range of creative practice spans conceptual and media territories that include art and social practice, propaganda and
41 Bulletin 2021-22 Graduate School of Art (07/22/21)
print media, figurative painting, and cinematic, time-based work Students are expected to proceed at a pace that enables them to including sound and digital film-making, book arts and large- finish their degree within the appropriate time limit; this is usually scale sculptural installations. Students often have the opportunity four semesters. Students have a maximum of three calendar to assist faculty members with studio-based work and research years from the date of their first registration to complete the that addresses timely and relevant topics, including race, global degree. Delays in a two-year completion must be approved by politics, the environment, art + science, evolving technologies, the program chair. social justice, and materials culture and studies. Students will complete a major creative project and a significant Visiting Lecturers writing exercise to position and defend their work. The school brings nationally and internationally recognized Required Units artists, designers, historians and critics to campus to promote Illustration Studio 30 new ideas in practice, theory and technology. Invited speakers Visual Culture History & Theory 12 often participate in graduate studio visits and conduct one-on- Hands-On Archival Work 9-12 one reviews of work. Electives 6-9 The Henry L. and Natalie E. Freund Teaching Fellowship (https:// Total 60 samfoxschool.wustl.edu/freund/) is an internationally recognized program that consists of two month-long artist residencies in The two-year program can be organized as follows: the Graduate School of Art that culminate with a public lecture Course Fall Units Spring and solo exhibition at The Saint Louis Art Museum. During their Units fellowship, artists teach the graduate students and conduct First Year studio critiques with students. Illustration Studio 1: Drawing and 6 — The Arthur L. and Sheila Prensky Island Press (https:// Voice (ART 561) islandpress.samfoxschool.wustl.edu/) Visiting Artist Program The Illustrated Periodical (ART 571) 3 — brings distinguished artists to the school for intensive studio Special Collections: Practice & 3 — residencies at Island Press. Visiting artists work closely with Purpose (ART 573) faculty, graduate students and advanced undergraduate students to create innovative prints that garner a critical Academic or Studio Elective 3 — response from national and international audiences. Illustration Studio II: Artist, Author, — 6 Audience (ART 562) Degree Requirements Literatures of Drawing (ART 572) — 3 MFA in Illustration & Visual Comics and Cartooning: A Critical — 3 Culture Survey (ART 576) Modern Graphic History Practicuum — 3 The Graduate School of Art subscribes to the standards for or Academic or Studio Elective the MFA degree as set forth by the College Art Association of 15 15 America (CAA (https://www.collegeart.org/)) and the National Second Year Association of Schools of Art and Design (NASAD (https:// nasad.arts-accredit.org/)). Illustration & Visual Culture Thesis 9 — Studio I (ART 661) The residence requirement for the MFA degree is at least two Readings in Visual and Material 3 — academic years of full-time study (minimum of 15 units each Culture (ART 675) semester). Curatorial Practice or Academic or 3 — The MFA in Illustration & Visual Culture program combines Studio Elective studio work in illustration and cartooning with the academic study Illustration & Visual Culture Thesis — 9 of visual and material culture, and it places an emphasis on Studio 2 popular print and hands-on curatorial training in partnership with Curatorial Internship — 3 the Olin Library Special Collections staff. Individual programs of study are arranged with faculty advisers according to the Academic or Studio Elective — 3 student's area of interest. 15 15
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• Art and design electives introduce students to the intellectual own writing and produce documentaries. Others produce site- and conceptual issues and production methods of a broad specific performances and lead community-based programs. array of practices that complement and expand the student's Their range of creative practice spans conceptual and media studio practice. First-year MFA students must take College territories that include art and social practice, propaganda and of Art electives at the 500 level; second-year students must print media, figurative painting, and cinematic, time-based work take all electives at the 600 level. including sound and digital film-making, book arts and large- • Courses taken outside the College of Art by MFA students scale sculptural installations. Students often have the opportunity must be at the 300 level or above to count as graduate-level to assist faculty members with studio-based work and research credit and require prior approval by the student's academic that addresses timely and relevant topics, including race, global adviser (program chair) in advance of registration. politics, the environment, art + science, evolving technologies, social justice, and materials culture and studies. • Students may not register for courses in University College. MFA in Visual Art Visiting Lecturers The school brings nationally and internationally recognized The Master of Fine Arts (MFA) in Visual Art (https:// artists, designers, historians and critics to campus to promote samfoxschool.wustl.edu/programs/mfa-va/) educates artists new ideas in practice, theory and technology. Invited speakers who will define and change the future of their disciplines. It often participate in graduate studio visits and conduct one-on- instills students with the agency and resiliency that will be one reviews of work. essential to the next generation of artists. The program is home to an inclusive, close-knit community of renegade makers The Henry L. and Natalie E. Freund Teaching Fellowship (https:// and thinkers, and it offers students a site of rigorous inquiry, samfoxschool.wustl.edu/freund/) is an internationally recognized humanity, and intellectual generosity. program that consists of two month-long artist residencies in the Graduate School of Art that culminate with a public lecture As part of Washington University, a tier-one research institution, and solo exhibition at The Saint Louis Art Museum. During their the School’s expansive facilities and studios serve as a fellowship, artists teach the graduate students and conduct think tank for intellectual and material experimentation. studio critiques with students. Each year, through the Freund Fellowship (https:// samfoxschool.wustl.edu/freund/), Island Press (https:// The Arthur L. and Sheila Prensky Island Press (https:// islandpress.samfoxschool.wustl.edu/), our Public Lecture Series islandpress.samfoxschool.wustl.edu/) Visiting Artist Program (https://samfoxschool.wustl.edu/pls/), and other programs, we brings distinguished artists to the school for intensive studio bring renowned artists, designers, and critics to campus for residencies at Island Press. Visiting artists work closely with lectures, studio visits, and reviews. faculty, graduate students and advanced undergraduate students to create innovative prints that garner a critical The Sam Fox School’s MFA in Visual Art professionally response from national and international audiences. prepares students for a diversified approach to the field of contemporary art that nurtures sustained, lifelong engagement Degree Requirements while recognizing multiple pathways and definitions for a career in the arts and culture. We are proud of our location in St. Louis, MFA in Visual Art which serves as both an extension of the studio and a site of The Graduate School of Art subscribes to the standards for engagement for art and artists. the MFA degree as set forth by the College Art Association of A new curriculum launching in fall 2021 promotes a rigorous America (CAA (https://www.collegeart.org/)) and the National and immersive approach to graduate study in art. By combining Association of Schools of Art and Design (NASAD (https:// Graduate Studio, Group Critique, Graduate Seminars, Electives nasad.arts-accredit.org/)). + Workshops, and the Summer Independent Project, the The residence requirement for the MFA degree is at least two program maximizes the context of the broad and diverse academic years of full-time study (minimum 15 units each community at Washington University and in St. Louis. semester). Students have three calendar years from the date of Website: http://samfoxschool.wustl.edu/gradart first registration to complete the degree. Individual programs are arranged with the program chair. Graduate students work with Faculty faculty advisers according to their areas of interest within the Our faculty (http://samfoxschool.wustl.edu/node/4159/) are Sam Fox School and the university at large. practicing artists and designers who engage in projects In order to earn the MFA in Visual Art (MFA-VA) — the terminal internationally, nationally and regionally. They exhibit their work professional degree in studio art — students must complete the in museums, galleries and other venues. They engage a variety following requirements: of audiences, receive critical review in periodicals, publish their
43 Bulletin 2021-22 Graduate School of Art (07/22/21)
Required Units Graduate Seminars Graduate Studio & Critique 32 Students take a sequence of required seminars — one each Graduate Seminars 13 semester — on professional practice, research methods, thesis Workshops 3 exhibition, and writing. Beginning with the First-Year Colloquium Summer Independent Project* 3 and culminating with Thesis & Exhibition Preparation, the sequence grounds students in their practice within the Sam Art/Design/Art History/Academic Electives 9 Fox School community and in St. Louis; engages students Total 60 in research methodologies; prepares emerging artists for The culminating event of the program requires students to professional careers; and supports students in the development present, defend, and document a thesis exhibition. of their final thesis text and museum exhibition. Electives may be taken from art or design, art history, and Electives + Workshops academic courses: MFA-VA students can enroll in electives across the Sam • Art and design electives introduce students to the intellectual Fox School and the university that build upon their research and conceptual issues and production methods of a broad interests. Each semester, students also participate in required, array of practices that complement and expand the student's 1-credit workshops to build essential technical and professional studio practice. First-year MFA students must take College skills. Students can select from workshops in the Sam Fox of Art electives at the 500 level; second-year students must School (like Fox Fridays), opportunities offered through the take all electives at the 600 level. university's Skandalaris Center or Teaching Center, or other • Courses taken outside the College of Art by MFA students options in settings around St. Louis. must be at the 300 level or above to count as graduate- Summer Independent Project level credit, and they require prior approval by the student's academic adviser (program chair) in advance of registration. During the summer following the second semester of the • Students may not register for courses in University College. program, MFA-VA students create projects supported by independent research. Projects can be accomplished in a A new curriculum launching in fall 2021 promotes a rigorous Sam Fox School studio or by engaging in partnerships or and immersive approach to graduate study in art. By combining residencies with arts organizations. In alternating years, students Graduate Studio, Group Critique, Graduate Seminars, Electives have the opportunity to participate in our Sommerakademie in + Workshops, and the Summer Independent Project, the Germany. Each student develops a proposal for their project program maximizes the context of the broad and diverse during the spring of their first year. The experience culminates community at Washington University and in St. Louis. in an exhibition of completed projects at the beginning of the fall Graduate Studio semester. In the Graduate Studio — through a combination of self-directed Course Fall Units Spring study, studio critiques, visiting artist reviews, and research — Units students work independently with the guidance of a primary First Year faculty mentor, and they enjoy regular encounters with a broad Graduate Studio 4 4 range of other faculty and visitors. Students are expected to Group Critique 4 4 support and drive each other to make work and take their ideas Graduate Seminar 3 3 as far as they can go. A student's time in the MFA-VA program is a singular experience in their artistic journey: we want each of Workshops 1 1 our students to thrive in their chosen path. Electives 3 3 Group Critique 15 15 Second Year Group Critique is the heart of the curriculum. A mix of first- and Graduate Studio 4 4 second-year students meet for rigorous weekly critiques to share Group Critique 4 4 new work and engage in lively, constructive discussion. These groups also serve to integrate the entire program as a supportive Graduate Seminar 3 4 yet demanding cohesive group invested in their community — Workshops 1 — individually and collectively.
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Electives 3 — International Student Admissions — Applicants for whom English is not the native language must Summer Independent Project* 3 — submit a score report for one of the tests below in order to obtain 18 12 admission to the MFA program:
* Units from the Summer Independent Project are awarded in 1. Test for English as a Foreign Language (TOEFL), the fall semester of the second year. including the TOEFL ITP Plus for China and the TOEFL iBT Home Edition for academic year 2021-22. The Administration minimum acceptable scores are 90 on the TOEFL and TOEFL iBT Home Edition and 600 (with Vericant video) on Graduate School of Art the TOEFL ITP Plus for China. 2. International English Language Testing System (IELTS) Amy Hauft (https://samfoxschool.wustl.edu/portfolios/amy- Academic module, with a minimum composite score of 6.5. hauft/) Director, College and Graduate School of Art 3. Due to the complications of testing during the pandemic, Jane Reuter Hitzeman and Herbert F. Hitzeman Jr. Professor of a minimum score of 115 on the Duolingo test will also be Art accepted for academic year 2021-22. MFA, School of the Art Institute of Chicago To ensure that we receive your official test score results: John Hendrix (https://samfoxschool.wustl.edu/portfolios/ • TOEFL test takers must use our institution code (6929) and faculty/john_hendrix/) department code (15) when making arrangements with the Chair, Illustration & Visual Culture testing agency for score reporting. MFA, School of Visual Arts • IELTS score results must be delivered to us electronically via Lisa Bulawsky (https://samfoxschool.wustl.edu/portfolios/ the IELTS Results Service e-Delivery system. Be sure to use faculty/lisa_bulawsky/) the name of our E-Delivery Account: Washington University Chair, Visual Art in St. Louis, Sam Fox School of Design & Visual Arts. MFA, University of Kansas • Duolingo test takers must individually email their test results as a PDF attachment to the Graduate Programs Coordinator. Admission Procedures ([email protected]) Eligibility TOEFL, IELTS, and Duolingo scores and the written essay do not in and of themselves presume adequate qualification for Washington University encourages and gives full consideration study. Functional English and familiarity with additional art- to all applicants for admission, financial aid and employment. related terminology are required upon entrance in order to The university does not discriminate in access to, treatment in or pass course work. In addition, international students may be employment in its programs and activities on the basis of race, interviewed prior to the issuance of an I-20 for a student visa. color, age, religion, sex, sexual orientation, gender identity or expression, national origin, veteran status, disability or genetic International students will receive specific instructions regarding information. the necessary financial documentation for visa purposes when admission letters are issued.
Admissions Phone: 314-935-2740 The application instructions for the upcoming fall semester Email: [email protected] are available on our Graduate Admissions webpage (https:// Website: https://samfoxschool.wustl.edu/ samfoxschool.wustl.edu/admissions/graduate/). Candidates admissions/graduate cannot apply for spring enrollment. Admissions decisions are based on the applicant's portfolio, Policies academic records, statement of objectives and references. Applicants may be admitted to the MFA program upon Satisfactory Academic Progress completion of the BFA degree or equivalent academic and Good Standing preparation. Specific requirements include a grade-point average The minimum GPA requirements needed to maintain eligibility of 3.0 or higher and good writing skills. for Satisfactory Academic Progress are dictated by the specific program of study. In each case, per the requirements of 34 C.F.R. 668.34(a)(4(ii), the federal student aid program requires a minimum of a C average to maintain eligibility for aid, but
45 Bulletin 2021-22 Graduate School of Art (07/22/21)
an individual degree or certificate program may have a higher sent within 48 hours of receiving the committee’s decision to minimum GPA for federal Satisfactory Academic Progress. the director of the student’s academic division. If appealing the Students in Graduate School of Art programs are required to director’s decision, the dean of the Sam Fox School makes the maintain a minimum 2.70 semester and cumulative GPA and to final determination. obtain grades of B- or better in all courses. If the appeal is successful, the student is placed on Special Students are expected to proceed at a pace that enables Academic Probation and allowed to enroll in classes. If the them to finish the degree within the appropriate time limit. appeal is unsuccessful, the student’s programs of study will be For MFA students, this is usually four semesters. Students closed and their classes dropped for the following semester. have a maximum of three calendar years from the date of first Suspended students may apply for re-enrollment at a future time, registration to complete the degree. although there is no guarantee that they will be allowed to return. Students must maintain a minimum grade-point average of 2.70 The unit of credit in the Graduate School of Art is the semester (B-) or better. Failure to do so places the student on academic hour, and it is a measure of the quantity of achievement. One probation and may result in dismissal from the program. A semester hour of credit is assigned for every three hours of grade of B- in Graduate Studio places the student on academic graduate studio work per week for one semester. A grade point probation. A second grade of B- in Graduate Studio results in is a measure of quality assigned to (or withheld from) units dismissal from the program. A grade of C+ or below in Graduate according to the following system: Studio results in immediate dismissal from the program. Work Credit Meaning Degree Grade completed with a grade of C+ or below in other course work Credit Points Per does not count toward degree requirements. Unit Probation serves as a warning that, unless the quality of work A+ superior yes 4.0 improves, the student may be subject to dismissal. Students A superior yes 4.0 dismissed for academic deficiency will not be eligible for readmission. A- superior yes 3.7 B+ good yes 3.3 In support of the student, the Sam Fox School Registrar's Office B good yes 3.0 will work with the student to develop a plan for success. In order to succeed, the student must understand the causes of their B- passing yes 2.7 current situation, identify what needs to change, and implement C+ unsatisfactory no 2.3 and review the plan. C unsatisfactory no 2.0 Although the Graduate School of Art desires to give all students C- unsatisfactory no 1.7 the opportunity to prove themselves, it is not in the best interest D+ unsatisfactory no 1.3 or either the student or the school to permit students to continue D unsatisfactory no 1.0 indefinitely in educational programs in which they are not D- unsatisfactory no 0.7 producing satisfactory results. F failing no 0.0 A student who wishes to appeal their suspension must present I course work incomplete no -- a written appeal within 48 hours of receiving notification X examination not taken no -- stating the reason(s) why they believe their situation should be reconsidered. This statement should be sent by N no grade reported no -- email to Cris Baldwin, Senior Assistant Dean & Registrar P# pass (pass/fail option) no -- ([email protected]). In this statement, the student must F# fail (pass/fail option) no -- explain why the unsatisfactory academic performance occurred L successful audit no -- and, if they are allowed to return, what they would do differently. Z unsuccessful audit no -- The student must then attend an appeal hearing. The student’s W withdraw -- -- academic record, written appeal, and any other factors the student may wish to discuss are considered by a faculty Grades of I, X and N will automatically become grades of F if the committee. After the appeal hearing, the student is informed of deficiency is not made up within the next semester in residence. the committee’s decision within 48 hours. Actions may include The GPA is determined by dividing the number of grade points academic probation, a required leave of absence for one or earned by the number of semester hours for which grades of two semesters, suspension, or termination from the program. A, B, C, D or F have been recorded. Grades of P#, F#, L or Z Should the student wish to appeal, a written request must be are not figured into the GPA and do not count toward degree requirements.
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If, following the last day for withdrawal from courses, the student Sam Fox School of Design & experiences medical or personal problems that make the satisfactory completion of course work unlikely, they may request Visual Arts Grievance Procedures a grade of I (incomplete) from one or more instructors and The dynamic and creative studio culture at the heart of the Sam must take the following steps: 1) discuss the request with the Fox School strives to be safe and inclusive for all members of instructor before the final critique or portfolio review; 2) with the our community. Our faculty, staff, and students join together in instructor's consent, complete an Incomplete Grade Petition, their commitment to creating learning environments of mutuality which is signed by both the instructor and the student; and 3) and respect. When concerns or disagreements arise about return the signed petition to Sam Fox School Registrar's Office conduct, grading, or other matters in the Colleges of Art and for final approval. Architecture, policies exist for pursuing proper resolution. The instructor is under no obligation to award a grade of Grade Dispute Policy Incomplete. The chair of the student's program must review each request before a grade of Incomplete will be granted. Once The Sam Fox School aims to provide each student with a fair granted, an Incomplete will become a grade of F if the deficiency assessment of their academic work and studio. Students have is not made up within the next semester of residence or by the the right to dispute their overall course grade (not individual date agreed. assignments) if they believe that grade does not accurately reflect the quality of their work. A grade dispute must be When a student retakes a course, both enrollments will show submitted to the faculty member who assigned the grade on the transcript. If the second grade is equivalent to or better within 30 days of receipt of the grade. The Sam Fox School than the first, the first grade may be changed to an R indicating stresses that every effort to resolve such a dispute should be re-enrollment. If the second grade is lower, both grades will made by the faculty and student involved. A student’s eligibility stand. Credit toward the degree will be allowed for only one of for advancement in sequential course work requires timely the enrollments. resolution of the grade dispute. If the student is a graduation English Language Support candidate, the dispute process must comply with the Intent to Graduate submission deadlines set forth by the Office of the Courses University Registrar or else the degree conferral will be delayed All incoming international students will be automatically enrolled by one semester or until resolved. in English language support courses. Students will be reviewed In general, the dispute process will occur and be resolved as during the first week of classes and the course waived by the follows: instructor if deemed unnecessary. Any student who needs continued support during the spring semester will be enrolled 1. The student presents their question about the grade in in additional workshops. These courses are required, but they writing to the faculty member and clearly states the reasons do not count toward degree requirements. These courses are for questioning the grade. free of charge to the student; however, any student who fails a 2. The faculty member and the student review the grading needed course will be billed additional tuition. procedures as stated in the syllabus and discuss the determining factors of the student’s grade. Candidacy 3. If the case is not resolved between the student and the Admission to candidacy for the MFA degree is contingent upon faculty member, the student may put forth their complaint in passing a review at the end of the first year of study. A student writing with supporting evidence to the chair of the academic who fails to achieve degree candidacy prior to the beginning of program, with a copy given to the faculty member involved the second year of residence may be advised to withdraw from with the dispute. The student should provide all of the course the program. If the student is denied admission to candidacy syllabus and materials relevant to the assigned grade within twice, they will be dismissed. two weeks of the complaint. If a conflict of interest exists between the student and the chair (e.g., the chair is teaching The thesis requirement for the MFA degree comprises the course), the case will be referred to another chair in the an exhibition of work; a defense of the work and written Sam Fox School or to the director of the college. documentation; and approval of both by the Graduate 4. The chair of the academic program will review the materials. Committee. The chair will resolve the dispute by working with the faculty member and the student to arrive at a determination.
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Integrity and Ethical Conduct • Drug and alcohol concerns (https://shs.wustl.edu/ HealthAndWellness/HealthTopics/Pages/Substance- Washington University and Sam Fox School of Design and Abuse.aspx) (Habif Health and Wellness Center) Visual Arts are committed to the highest ethical and professional • Immediate physical/mental health concerns (https:// standards of conduct and consider these to be integral to police.wustl.edu/Pages/Home.aspx) (Washington University their mission of the promotion of learning. To maintain these Police Department) standards, the university relies on each community member’s ethical behavior, honesty, integrity, and good judgment. Each • Center for Diversity & Inclusion (https:// community member should demonstrate respect for the rights diversityinclusion.wustl.edu/brss/) (for issues related to bias, of others, and each community member is accountable for prejudice, or discrimination) their own actions. Washington University policies state that Academic Integrity members of the university community can expect to be free from discrimination and harassment. Students, faculty, staff, Students and members of the faculty of the university have and outside organizations working on campus are required to an obligation to uphold the highest standards of scholarship. abide by specific policies prohibiting harassment, which are Plagiarism and other forms of cheating will not be tolerated. posted on the Compliance and Policies (https://wustl.edu/about/ When the student has violated the integrity of the academic compliance-policies/) page of the university’s website. Should community, an instructor may recommend that the student be a situation arise in which a member of our community believes brought before the Committee on Academic Integrity (https:// they have cause to file a grievance, there are two categories of samfoxschool.wustl.edu/files/Graduate%20School%20of%20Art grievance to consider: academic and non-academic. Academic %20Academic%20Integrity%20Policy.pdf). grievances can either be when a student challenges a course grade or when a fellow student or faculty member feels a Student Conduct matter of academic integrity is at issue. Student grievances Students are expected to comply with the rules and regulations filed to challenge a grade that the student feels has been of the University. See the University Student Conduct Code given incorrectly must follow the procedures outlined in the (https://wustl.edu/about/compliance-policies/academic-policies/ Grade Dispute Policy above. Academic integrity grievances university-student-judicial-code/) and Graduate School of Art are made when a faculty member or fellow student feels a Studio Culture Policy (https://samfoxschool.wustl.edu/files/ student has compromised the environment of honesty and Graduate%20School%20of%20Art%20Studio%20Culture ethics in the school. Academic integrity infractions follow the %20Policy.pdf) for more information. Additional information procedures laid out in the Sam Fox School and University is available in the Graduate Student Handbook distributed at policies (https://samfoxschool.wustl.edu/node/5766/) and are orientation. managed in the Sam Fox School by the Academic Integrity Officer, Senior Assistant Dean Cris Baldwin. Please refer to Leaves of Absence Washington University’s Academic Integrity Statement (https:// Graduate students in the Sam Fox School may request a studentconduct.wustl.edu/academic-integrity/) for additional voluntary leave of absence for up to one year (two semesters) information. when individual professional, medical, or personal circumstances Non-Academic Concerns warrant it. Petitions are reviewed and approved by the student's program chair. Any requests extending beyond one year will be If a member of our academic community feels that the ethical reviewed on a case-by-case basis. and safe environment of the classroom has been compromised, for whatever reason, they may seek guidance through the Students must submit a written request for a leave of school’s Faculty-Student Mediator, Professor Jeff Pike. Students absence no later than three weeks prior to the start of the may also consult Washington University’s Grievance Policy and upcoming semester. There is no guarantee that requests Procedures for Allegations by Undergraduate Students Against received after the deadline will be reviewed. Faculty (https://wustl.edu/about/compliance-policies/governance/ In the case of a medical leave of absence, approval is required grievance-policy-allegations-undergraduate-students-against- from the Habif Health and Wellness Center before a student faculty/). In addition, University Resources available for support will be permitted to take a medical leave of absence and return. include the following: International students requesting a leave of absence must • Title IX (https://titleix.wustl.edu/) (for issues related to contact their adviser at the Office for International Students and discrimination, sexual harassment, and sexual violence) Scholars to discuss how the leave might affect their visa status. • Mental health concerns (https://shs.wustl.edu/MentalHealth/ Students returning from a leave of absence must submit a Pages/default.aspx) (Habif Health and Wellness Center) written request stating their intention to enroll by April 15 for fall and November 15 for spring.
48 Bulletin 2021-22 Graduate School of Art (07/22/21)
If a student decides to take a leave of absence without first Summer Withdrawals and Refunds having received approval, they will be considered withdrawn The Sam Fox School reserves the right to cancel a course if from Washington University. If a withdrawn student wishes to it has not enrolled enough students by the first day of class. If return within one year, they must submit an official request for a course is canceled, all enrolled students will be notified and readmission to the appropriate program chair. Students who dropped from the class, and they will not be charged tuition and are withdrawn from the university for longer than one year must fees. reapply for admission. If a course is not canceled, a student may be released from Financial Obligations their obligation to pay full tuition and fees by canceling their The University reserves the right to change the fees stated or to registration according to the schedule below: establish fees at any time without prior written notice. Whenever Withdrawal Date Refund changes or additions are made, they become effective with the Prior to the first class meeting 100% next payment due. tuition + Students are responsible for fulfilling their financial obligations fees to the university. If a student account becomes overdue, a Prior to 15% of published meeting dates 100% late payment fee will be assessed, and a hold will be placed Prior to 30% of published meeting dates 80% on the account. Students with a poor payment history may be restricted from utilizing certain payment options or receiving Prior to 45% of published meeting dates 60% tuition remission until course credit has been earned. Non- Prior to 60% of published meeting dates 40% payment of tuition and other expenses due to the university After 61% of published meeting dates 0% will be cause for exclusion from class or refusal of graduation, Requests for refunds must be made in writing to the Sam Fox further registration, or transfer credit. In addition, students are School Registrar's Office. liable for any costs associated with the collection of their unpaid bills, including but not limited to collection agency costs, court Students may drop a summer course without penalty through costs, and legal fees. Past due amounts can also be reported to the 80% tuition refund deadline, and they may withdraw from a a credit bureau. course through the 40% tuition refund deadline. Withdrawals and Refunds Graduation A written request for a refund must be submitted to the Sam Fox Students are responsible for filing an Intent to Graduate form in School Registrar's Office for consideration. Approval is required order to have the degree conferred. The Intent to Graduate is to officially withdraw from the university. Tuition adjustments will available online through WebSTAC (https://acadinfo.wustl.edu/ be processed based on information received, and refund checks WSHome/Default.aspx). No degree will be awarded if this form will be issued only after the fourth week of classes. Material fees has not been filed by the appropriate deadlines. Students who for art courses will not be refunded after the course drop period do not complete their degree requirements by their intended for the semester. For any student whose medical condition graduation date must re-file for the next graduation date. makes attendance for the balance of the semester impossible or medically inadvisable, the university will make a pro rata refund Retention of Student Work of tuition as of the date of withdrawal when that date occurs The Graduate School of Art reserves the right to hold work(s) for prior to the twelfth week of classes, provided that the condition exhibition purposes and holds reproduction rights of any work(s) is verified by the Habif Health and Wellness Center or a private executed in fulfillment of course requirements. physician. The date of withdrawal may correspond to the date of hospitalization or the date on which the medical condition was Financial Information determined.
Withdrawal Date Refund Financial Aid Within 1st or 2nd week of classes 100% All students accepted for admission to the Graduate School Within 3rd or 4th week of classes 80% of Art who have applied for financial aid are automatically considered for available fellowships and scholarships as well Within 5th or 6th week of classes 60% as partial-tuition remission art scholarships. MFA awards range Within 7th or 8th week of classes 50% from 25% to 100% of tuition. Scholarships are awarded by the Within 9th or 10th week of classes 40% Graduate Admissions Committee, and awards are based on After 10th week of classes 0% separate considerations of academic excellence and financial need.
49 Bulletin 2021-22 Graduate School of Art (07/22/21)
An application for financial aid will have no effect on the year of study. Students must reapply for loan assistance each admission decision. The Graduate School of Art strives to year. Instructions for applying for financial aid are available on provide aid to as many fellows as possible. Financial aid our Financial Aid (http://samfoxschool.wustl.edu/node/4179/) packages most often consist of a combination of fellowships webpage. or scholarships, assistant in instruction positions, and loan assistance. Tuition Payment Policy and Billing Through the Sam Fox Ambassadors Graduate Fellowship Procedures Program (https://samfoxschool.wustl.edu/node/13474/), the Full-time students must be enrolled in a minimum of 12 credit School will award 10 full-tuition scholarships each year to units. Graduate students may not be enrolled in more than 16.5 outstanding candidates for graduate study. Ambassadors will credit units following the add/drop deadlines for the semester also receive an annual $750 travel stipend to support individual without the approval of the chair of their program. research or school-sponsored travel. The tuition waiver and stipend will be renewed annually for Ambassadors in good If a student withdraws from the program, a written request standing. Ambassadors will be selected from top applicants to for a refund must be submitted to the program chair for the following degree programs: Master of Architecture, Master consideration. Approval is required to officially withdraw of Fine Arts in Visual Art, Master of Fine Arts in Illustration & from the university. Tuition adjustments will be processed Visual Culture, Master of Landscape Architecture, and Master of based on information received and according to Washington Urban Design. Recipients will demonstrate exceptional potential University policies as stated on the Financial Services (http:// for advanced studies and creative research in their discipline. studentaccounting.wustl.edu/) website. Material fees for In addition to the tuition waiver and stipend, Ambassadors will Graduate School of Art courses will not be refunded after the participate in a series of events each year designed to build deep course drop deadline for the semester. For any student whose and meaningful connections across disciplines that advance their medical condition makes attendance for the semester impossible creative work and scholarship. or medically inadvisable, the university will make a pro rata refund of tuition as of the date of withdrawal when that date Merit-based scholarships — including the Ernestine Betsberg occurs prior to the 12th week of classes, provided the condition and Arthur Osver Scholarship, the Catherine M. & Stanley R. is verified by the Habif Health and Wellness Center or a private Miller Scholarship, the McMillan Graduate Scholarship, the physician. The date of withdrawal may correspond to the date of Henrietta Wahlert Graduate Scholarship, and the Danforth hospitalization or the date on which the medical condition was Scholarship — are also awarded based on the strength of the determined. student's application and portfolio. No additional application is necessary. In addition, university-wide fellowships and scholarships are available that require a separate application. These opportunities include the Spencer T. and Ann W. Olin Fellowship for Women (http://pages.wustl.edu/olinfellowship/), the Chancellor's Graduate Fellowship (http://pages.wustl.edu/cgfp/), and the McDonnell International Scholars Academy (https:// global.wustl.edu/mcdonnell-academy/). Students are awarded assistant in instruction positions based on the strength of their applications and portfolios. Assistants in instruction work about 10 hours per week and earn up to $2,000 per semester. Students are paid on a biweekly schedule for work completed. Assistants in instruction are limited in number for first-year MFA candidates; notification of this award will be included in any scholarship offer. All second-year MFA candidates are eligible for assistant in instruction positions. Admissions and awards of financial aid are for the specific academic year, but accepted applicants may request deferment of admission for up to one year. Fellowship, scholarship, and assistant in instruction awards are renewable for the second
50 Bulletin 2021-22 Interdisciplinary Opportunities (07/22/21)
• Registration for such courses requires preliminary approval Interdisciplinary of the student's major/department adviser, the student's division office or dean, and the academic department of the Opportunities host university. • Students at the host institution have first claim on course Washington University offers courses through interdisciplinary enrollment (i.e., a desired course at SLU or UMSL may be programs that include studies in a variety of disciplines that cross fully subscribed and unable to accept Washington University traditional academic boundaries and support academic areas students). outside of the schools. • Academic credit earned in such courses will be considered as resident credit, not transfer credit. • A limited opportunity for some Washington University students to enroll in courses at Saint Louis University and • Tuition for such courses will be paid to Washington the University of Missouri-St. Louis is available through the University at the prevailing Washington University rates; Inter-University Exchange Program (p. 51). there is no additional tuition cost to the student who enrolls in IE course work on another campus. However, students are • The Skandalaris Center (p. 52) offers cocurricular responsible for any and all fees charged by the host school. programming and practical, hands-on training and funding opportunities to students and faculty in all disciplines and • Library privileges attendant on enrolling in a course on a host schools. campus will be made available in the manner prescribed by the host campus. Inter-University Exchange Instructions Program Washington University students must be enrolled full-time to The Inter-University Exchange (IE) program between participate in the IE program and have no holds, financial or Washington University, Saint Louis University (SLU), and the otherwise, on their academic record at Washington University or University of Missouri–St. Louis (UMSL) began in 1976 as an at the host institution. exchange agreement encouraging greater inter-institutional 1. The student must complete the IE program application cooperation at the graduate level. Over time, this program form. Forms are available from the Office of the University has evolved to include undergraduate education. The basic Registrar website (https://registrar.wustl.edu/student-records/ provisions of the original agreement are still in place today, and registration/the-inter-university-exchange-program/). participation continues to be at the discretion of each academic department or unit. 2. The student must provide all information requested in the top portion of the form and indicate the course in which they At Washington University, there are several schools that do not wish to enroll. participate in this program (i.e., degree-seeking students in 3. The student must obtain the approval signature of the these schools are not eligible to participate in the IE program, professor teaching the class or the department chair at SLU and courses offered in these schools are not open to SLU and or UMSL, preferably in person. UMSL students attending Washington University through the IE 4. The student also must obtain the approval signatures of their program). They are the School of Law, the School of Medicine, major adviser at Washington University and the appropriate the McKelvey School of Engineering, and University College. individual in their dean's office. The Washington University schools that are open to participation in the IE program may have specific limitations or requirements 5. Completed forms must be submitted to the Office of the for participation; details are available in those offices. University Registrar in the Women's Building a minimum of one week before the start of the term. The following provisions apply to all course work taken by Washington University students attending SLU or UMSL Course enrollment is handled administratively by the registrars through the IE program: of the home and host institutions. Washington University students registered for IE course work will see these courses • Such courses can be used for the fulfillment of degree or on their class schedule and academic record at WebSTAC major requirements. (Students should consult with their under departments I97 (SLU) and I98 (UMSL). Final grades are dean's office for information about how IE course work will recorded when received from the host institution. The student count toward their grade-point average, units and major does not need to obtain an official transcript from SLU or UMSL requirements.) to receive academic credit for IE course work at Washington • Such courses are not regularly offered at Washington University. University.
51 Bulletin 2021-22 Interdisciplinary Opportunities (07/22/21)
Contact: Office of the University Registrar Programs Phone: 314-935-5959 • Global Impact Award (GIA) (https:// Email: [email protected] skandalaris.wustl.edu/sc-programs/global-impact- Website: http://registrar.wustl.edu/student- award/) records/registration/the-inter- The GIA awards WashU–affiliated ventures with inventions, university-exchange-program products, ideas, and business models that will have a broad and lasting impact on society. Skandalaris Center for • Who Can Apply: WashU students, postdocs, residents, Interdisciplinary Innovation and and alumni who have graduated within the last 10 years • Award: Up to $50,000 Entrepreneurship • The Hatchery (https://skandalaris.wustl.edu/sc- The Skandalaris Center for Interdisciplinary Innovation and programs/hatchery/) Entrepreneurship (https://skandalaris.wustl.edu) is the home of The Hatchery is a course offered by Olin Business School WashU entrepreneurship. that allows student teams to pursue their own business ideas or to support community entrepreneurs. Students form teams Mission around a commercial or social venture idea proposed by a student or community entrepreneur. The deliverables for the The Skandalaris Center aims to inspire and develop creativity, course include two presentations to a panel of judges and a innovation, and entrepreneurship at Washington University in complete business plan; these are similar to the deliverables St. Louis. in the Skandalaris Center's business plan competitions and Who We Serve can be a valuable first step toward competitions and funding for a new venture. We work with the best and brightest at WashU — the change makers, thought leaders, and visionaries — to solve the • Honors in Innovation & Entrepreneurship (https:// world's problems and meet local needs through innovation and skandalaris.wustl.edu/sc-programs/honors-in- entrepreneurship. As an interdisciplinary center, our initiatives innovation-and-entrepreneurship/) serve students, faculty, staff, and alumni from all levels and Students who have shown exemplary involvement in disciplines. innovation and entrepreneurship during their time at Washington University are recognized through this program. Our Initiatives Honors are earned by accumulating points through a combination of curricular and cocurricular activities. We develop programs for WashU entrepreneurs, creatives, innovators, and scholars. Our commitment to interdisciplinary • IdeaBounce (https://skandalaris.wustl.edu/sc-programs/ ® innovation and entrepreneurship is motivated by the following ideabounce/) ® beliefs: IdeaBounce is both an online platform and an event for sharing venture ideas and making connections. This is an • Everyone can be creative. We provide hands-on experiences opportunity for participants to pitch their ideas (no matter and the creative means to solve problems. how "fresh"), get feedback on them, and make connections. • Innovation is the backbone of entrepreneurship. Our In-person events happen around twice per semester. opportunities are designed to develop and share new ideas • Innovation Conversations (https://skandalaris.wustl.edu/ while connecting with other WashU entrepreneurs and sc-programs/innovation-conversations/) innovators. These interactive discussions showcase different topics • Good ideas are one opportunity away from success. Our and industries with a variety of creators, innovators, and programs are created to help WashU entrepreneurs and entrepreneurs. innovators access the resources they need to take their • LEAP (Leadership and Entrepreneurial Acceleration ideas to the next level. Program) (https://skandalaris.wustl.edu/sc-programs/ • Knowledge and skills are key to innovation and leap/) entrepreneurship. Our Center offers events and opportunities LEAP is a hybrid virtual incubator and gap funding program to help our community of WashU entrepreneurs, creatives, designed to tackle opportunities in university technology and innovators learn the ins and outs of innovation and commercialization, illuminate investment risk, and rapidly entrepreneurship. accelerate the development of validated projects. • Who Can Apply: Any person or team with WashU intellectual property • Award: Up to $50,000
52 Bulletin 2021-22 Interdisciplinary Opportunities (07/22/21)
• NSF Skandalaris I-Corps (https://skandalaris.wustl.edu/ Learn More sc-programs/nsf-i-corps/) This is an experiential entrepreneurship program that Please contact the Skandalaris Center (https:// supports scientists seeking to commercialize technology skandalaris.wustl.edu/get-connected/) to sign up for our and engages experienced entrepreneurs as mentors to help newsletter and for additional information about all programs. teams transform an idea into a viable technology company. Phone: 314-935-9134 • PhD Citation in Entrepreneurship (https:// Email: [email protected] skandalaris.wustl.edu/sc-programs/entrepreneurship- Website: http://skandalaris.wustl.edu citation/) This program provides opportunities for PhD students who are interested in developing skills and experiences in the areas of entrepreneurship and innovation. • Resources (https://skandalaris.wustl.edu/resources/) The Skandalaris Center, Washington University, and external services and resources are available to support innovators and entrepreneurs. • Simon Initiative (https://skandalaris.wustl.edu/sc- programs/the-simon-initiative/) The Simon Initiative is a multistage collaborative initiative to expand diversity and interdisciplinary approaches to entrepreneurship. • Skandalaris Startup Webinars (https:// skandalaris.wustl.edu/sc-programs/skandalaris-startup- webinars/) These webinars provide an exciting way for alumni to reconnect and share their experiences with entrepreneurship. • Skandalaris Venture Competition (SVC) (https:// skandalaris.wustl.edu/sc-programs/svc/) The SVC provides expert mentorship to new ventures and startups to ready them for commercializing their ideas, launching, and pitching to investors. Teams will develop materials focused on explaining the ideas that they are working on to a broad audience. • Who Can Apply: Current Washington University students with an early-stage venture or idea • Award: Up to $22,500 • Student Groups (https://skandalaris.wustl.edu/sc- programs/student-groups/) There are many organizations that allow students to gain experience and make valuable interdisciplinary connections in the areas of creativity, innovation, and entrepreneurship. • Washington University in St. Louis Entrepreneurship Courses (https://skandalaris.wustl.edu/sc-programs/ entrepreneurship-courses/) Courses in entrepreneurship offered across the university are available to students at all levels and in all disciplines. • Workshops (https://sc.wustl.edu/events/) The Skandalaris Center offers free, noncredit workshops designed to encourage creativity, innovation, and entrepreneurship.
53 Bulletin 2021-22 Index (07/22/21)
Index A About This Bulletin ...... 2 About Washington University in St. Louis ...... 3 Academic Calendar ...... 3 Administration, Art, Graduate ...... 45 Admissions, Art, Graduate ...... 45 Art, Graduate School of ...... 14 C Campus Resources ...... 4 F Financial Information, Art, Graduate ...... 49 I Inter-University Exchange Program, Graduate ...... 51 Interdisciplinary Opportunities, Graduate ...... 51 M MFA in Illustration & Visual Culture ...... 41 MFA in Visual Art ...... 43 P Policies, Art, Graduate ...... 45 Policies, Washington University ...... 7 S Sam Fox School of Design & Visual Arts, Art, Graduate ...... 41 Skandalaris Center, Graduate ...... 52 T Trustees & Administration ...... 3 U University Affiliations ...... 12
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