THE SCHOOL OF ART 2015–16 COURSE CATALOG 49

THE SCHOOL OF ART

MISSION STATEMENT

The mission of the School of Art is to educate artists in the broadest sense, both as creative practitioners engaged with a wide range of disciplines in the visual arts and as enlightened citizens of the world who are prepared to question and trans- form society. The program is structured around an integrated curriculum that fosters connections between disciplines, as well as between traditional and new media. The studio experience affords the opportunity for the development of individual artistic vision in dialogue with collective debates and experiments within an intimate community of artists. The study of history, theory and criticism in the visual arts and general studies in the humanities and social sciences are considered essential in intellectually grounding studio practice. Central to the school’s philosophy is the advancement of the artist’s role in initiating critical responses and alternative models in relation to the prevailing forms and insti- tutions of cultural production. Students are challenged to expand their research and experimentation across The Cooper Union, as well as in the surrounding urban environment and in the wider public sphere. 50 THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

BACHELOR OF FINE ARTS CURRICULUM For Students who entered on or after September 2011

Course Credits Goals and Objectives The goal of the B.F.A. program is to educate students in the skills, knowledge and understanding necessary Required Foundation Courses Basic Drawing (Analytical and Descriptive) 61 for professional practice in art- and design-related fields. An inte- 2-Dimensional Design 61 grated program not only teaches students in specific disciplines, 3-Dimensional Design 61 but also in the complex interrelation of all visual vocabularies. 4-Dimensional Design 31 The Foundation Program consists of a series of prerequi- Color 21 site courses taken during the first year. This introductory year is Introduction to Techniques 11 designed as a basis for the educational program of the School of Foundation Project 11 Art and is intended to prepare students for studies in all of the disciplines offered within the curriculum. Through exposure to Required Art History Courses Modern to Contemporary: An Introduction to Art History 41 a variety of two- and three-dimensional projects, students are given a general introduction to the specifics of visual and spatial Art History Electives 10* phenomena, and to concepts, principles and techniques of the visual arts. Required General Academic Studies Following the completion of the Foundation Program, the Freshman Seminar 31 disciplines offered are drawing, film and video, graphic design, Texts and Contexts: Old Worlds and New 31 painting, photography, printmaking and sculpture. Elective studio The Making of Modern Society 32 2 classes and seminars are also offered on a rotating basis. Students The Modern Context: Figures and Topics 3 Science 3 may choose to focus their work in one or more areas of special- ization and are encouraged to follow an integrated approach by General Academic Studies Electives selecting from various areas while observing a prerequisite system To be elected from Art History3, Foreign Language4, designed to allow in-depth study in specific disciplines. History of Architecture, Humanities, Social Sciences and Sciences 12 Bachelor of Fine Arts Requirements Candidates for the bachelor of fine arts degree are expected to complete 130 credits within Prerequisite and Advanced Studio Courses eight semesters of study and within the following disciplinary To be elected from any studio discipline 54 credit distribution. (See chart at right.) Required Senior Presentation 0

Free Electives To be elected from courses in any discipline at Cooper Union or at other institutions approved by the dean of the School of Art 10 Total Credit Requirement B.F.A. Degree 130

* Including 2 credits in prehistory through 17th century art and 2 credits in global perspectives on art

1 First-year requirement for all students 2 Second-year requirement for all students 3 Maximum of three credits * Admission to the Certificate in Art is temporarily suspended until further notice. 4 With permission of the dean of the School of Art THE SCHOOL OF ART 2015–16 COURSE CATALOG 51

Studio Courses The student’s choice of studio courses is based The Cooper Union or courses at other accredited institutions with on individual interest in various disciplines, on prerequisite the permission of the dean of the School of Art (or the academic courses for advanced areas of study and on the student’s interest adviser). Free elective credits are approved and granted by the in working with particular instructors. dean of the School of Art (or the academic adviser). There are limitations on the number of credits a student may Outside Electives These electives may be used only to meet free take each semester in any one area of study, depending upon the elective and/or general academic studies credit requirements; student’s progress in the program (number of credits completed they cannot substitute for prerequisite or advanced studio elec- toward the degree). The number of credits allowed is determined tives. Students may take up to three credits per semester at a as listed below: college other than The Cooper Union. For credit to be counted Maximum Credits per toward the B.F.A. degree, permission of the dean of the School Credits Completed Semester per Area of Study* of Art (or the academic adviser) is required before registration at B.F.A. 32 (Sophomore) 6 another institution for the semester concerned. No such credit 64 (Junior) 9 will be awarded retroactively. 96 (Senior) no limit Senior Presentation Requirement A public presentation of each * Includes related techniques courses senior student’s work, normally in the student’s final semester, is a requirement for graduation. Each student may satisfy this General Academic Studies Requirements and Electives During requirement with an exhibition or, where appropriate, a screening, the first two years, B.F.A. candidates must take four core courses performance or publication. No student will be permitted to in the humanities and social sciences (12 credits), as well as one receive a degree unless this requirement is completed to the course each semester in art history (two required courses and two satisfaction of the faculty and the dean of the School of Art at a elective courses, eight credits total). At any time after the first- mutually agreed upon time and venue. Completion of the require- year they must take a three-credit science course. ment will be reflected on the student’s transcript. The 41 Cooper Throughout the last two years, they must complete a Gallery will be reserved for senior student exhibitions during much minimum of 18 elective credits, six of which are required to be in of the spring semester; other appropriate exhibition spaces will art history; the remaining 12 may be taken in humanities, foreign also be made available. languages (with permission of the dean of the School of Art), social sciences, art history (maximum three credits), history of architec- Progress Toward the Degree Students are expected to main- ture and the sciences. tain normal progress toward their degrees, i.e., passing enough Foreign language credit for intermediate and advanced credits each semester to complete degree requirements within courses, taught by language instructors with appropriate four years of study. academic credentials, will be granted two general studies credits The normal work load is 17 credits per semester during the per semester with a limit of four credits accepted in the category Foundation year and 16 credits per semester thereafter (= 130 of general academic studies electives with permission of the dean credits = B.F.A. degree requirement). of the School of Art. Intermediate or advanced foreign language Students should consult with the Office of Academic studies beyond four credits counted toward general academic Advisement in order to assess their progress towards the degree. studies will be acceptable for free elective credit, limited to two Requirements for Nonresident Study Eligibility for non-resident credits in language studies per semester. study, i.e., the exchange and mobility programs, is as follows: Free Electives During the last three years, students have a choice Students who have completed at least 64 credits toward the bach- of electives in the School of Art in addition to the required curric- elor of fine arts degree, have a cumulative G.P.A. of 3.0 overall, ulum. Courses designated with the prefix TE or SE receive free and have no outstanding first- and second-year requirements, may elective credit, as do studio courses taken beyond the 54 credit apply for one semester of non-resident study. The student must requirement. Only one TE course per semester may be taken. maintain good academic standing in the semester prior to depar- Students may also enroll in engineering or architecture courses at ture, otherwise permission to participate may be revoked.

52 THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

Transfer students must have completed at least 32 credits in ACADEMIC STANDARDS residence at The Cooper Union before applying for non-resident AND REGULATIONS study and must have an additional 32 credits to complete in Credits A credit is an academic unit of measure used for recording residence upon their return. Transfer students must also have progress in the program of study and in meeting the academic met all first- and second-year requirements and be in good academic requirements of the degree. In studio and lecture courses, one (1) standing, defined as having a cumulative G.P.A. of 3.0 overall. credit represents a minimum of three (3) hours of work during each Students applying for non-resident study must be in resi- week of a 15-week semester dedicated solely to that course. These dence during the semester when they are completing the appli- criteria apply to each course in which the student is enrolled. cation process. Students may earn a maximum of 12 credits in studio Example in studio courses: courses for one semester of study on exchange or mobility. A Drawing, 3 credits, equals 9 hours of work per week (i.e., 4 hours maximum of six credits may be awarded by any one faculty in class and 5 hours outside work [studio or home] or 3 hours in member for work done while on exchange or mobility. class and 6 hours outside work). Since foreign schools may have academic calendars at Example in techniques courses: variance with that of The Cooper Union, students studying on Casting Techniques, 2 credits, equals 6 hours of work per week exchange who cannot return in time for the start of the next (i.e. 4 hours in class and 2 hours outside work). semester at the School of Art must request a discretionary leave of absence for that semester. Example in a lecture course: Students may participate in non-resident study only once English Literature, 3 credits, equals 9 hours of work per week (i.e., during their stay at The Cooper Union. 3 hours in class and 6 hours of outside work). Students should consult the Office of Off-Campus Programs The number of credits awarded in each course represents the for information about these exchange and mobility opportunities. fulfillment of an agreement by the student to satisfy the course Students from other institutions who are enrolled at the requirements as defined by each instructor, on time, and in accor- School of Art as exchange or mobility students may not apply to dance with the definition of credit. transfer to The Cooper Union School of Art while in residence at The Cooper Union. Additional Credits in an Advanced Studio Course Permission to add credits to individual course commitments may be granted Exchange Programs The School of Art offers a number of only under special conditions and must receive the written exchange programs with schools abroad. They currently include approval of the instructor and the dean of the School of Art (or the opportunities to study in the Czech Republic, England, France, academic adviser) during the registration process. Germany, Israel, Japan, the Netherlands, Spain, Sweden and Juniors and seniors in good academic standing (defined Switzerland. as having earned a minimum 3.0 G.P.A. in School of Art studio Mobility Program The Cooper Union School of Art is a member courses for the previous semester) may add credits to their indi- of the Association of Independent Colleges of Art and Design vidual course commitment under the following conditions: no (A.I.C.A.D.). A list of schools participating in the mobility program more that two (2) additional credits in one course and no more in the U.S. and Canada is available in the Office of Academic that a total of three (3) additional credits in any one semester. Advisement and Off-Campus Programs. Additional Credits in a Semester Normal progress towards a Schools in the metropolitan New York City area are not avail- degree is 16 credits per semester. Students may register for up able for a semester exchange. to 19 credits only if they earned a minimum 3.0 G.P.A. overall for the previous semester. Under special conditions, students may register for more than 19 credits only with the permission of the dean of the School of Art (or the academic adviser). Students who wish to register for less than 16 credits must do so in consultation with the Office of Academic Advisement of the School of Art. THE SCHOOL OF ART 2015–16 COURSE CATALOG 53

Independent Study Independent study is an alternative to class- Registration Only those students who are officially registered room study and may be taken only with a member of the resident in a course (i.e., by approval of the dean of the School of Art) will faculty (defined as full-time or proportional-time faculty members have the grades and credits entered on their records. Students or adjunct faculty members on three-year appointments). Only are required to register for each semester through the online juniors and seniors in good academic standing (defined as having registration system, during the announced registration period. earned a minimum 3.0 G.P.A. overall for the previous semester A student who receives a grade of F, W or WU in the first are eligible for independent study. Independent study may be semester of a one-year course will not be allowed to register taken only once during a semester in an advanced subject for for the second semester of that course. In such a situation the one (1), two (2) or three (3) credits. One (1) credit of indepen- student will be called before the Academic Standards Committee dent study represents a minimum of three (3) hours of work during for individual review and/or counseling in order to determine each week of a 15-week semester. a future program of study. Students whose records by mid-se- The major consideration in approving proposals for indepen- mester indicate a possible failure to meet required standards may dent study is the educational value of the study project within the be so informed. structure of the degree requirements. Permission to undertake Grades At the end of every semester each student receives a study off-campus can be given only when it is required by the grade for his or her semester’s work in each subject. nature of the specific project and when the experience has been The grades, expressing the faculty’s evaluation of students’ evaluated to be valid by the instructor and approved by the dean work in School of Art courses, are: A (4.0), A- (3.7), B+ (3.3), B (3.0), of the School of Art. B- (2.7), C+ (2.3), C (2.0), C- (1.7), D+ (1.3), D (1.0), D- (.7), F (0). Transfer Credits All incoming students (freshmen with The numbers in parentheses give the assigned numerical advanced standing and transfer) may apply for transfer credits equivalents of the letter grade for each course. These are used in to be counted toward the B.F.A. degree requirements. These computing semester index and cumulative index ratings by multi- credits must be approved by the dean of the School of Art, after plying the numerical equivalent of the grade for each course by the evaluation by faculty based on official transcripts from other the credits assigned to that subject. The sum of such multiplica- schools. The transfer credits will be officially recorded only tions for all the subjects carried by a student is divided by the total after one semester of satisfactory work is completed at The credits carried by him or her for that period to determine the index Cooper Union. or grade point average. Transfer credits may be granted specifically in lieu of the The meanings for the letter grades are as follows: School of Art’s foundation, prerequisite or elective courses. A A Outstanding performance maximum of 60 credits may be transferred toward the B.F.A. B Above average performance degree, at the time of admission only. An accepted applicant C Requirements completed; average performance who has previously earned a baccalaureate degree in a discipline D Passing, but unsatisfactory other than art will be treated as a transfer student for purposes of F Failure to meet the minimum requirements of a subject evaluating completion of degree requirements and length of time I The designation I indicates that the work of the course has allotted at The Cooper Union to complete the B.F.A. not been completed and that assignment of a grade and credit The required 10 credits of free electives, however, must has been postponed. An I will be given only in cases of illness be completed during the student’s stay at The Cooper Union. (confirmed by a physician’s letter ) or documentation of other No previously earned credits may be transferred into this cate- extraordinary circumstances beyond the student’s control. The gory. Exceptions to this rule may be granted by the Admissions designation of I will be granted only with the approval of the dean Committee, with the approval of the dean of the School of Art, at of the School of Art. the time of admission only. (See also page 13.) The deadline for removal of an I designation will be deter- mined by the instructor and recorded at the time the designation Attendance Attendance at classes is mandatory. Unexcused is given, but will not be later than two weeks after the start of the absences and excessive lateness will be cause for probation next semester. If the I is not removed within the set time limit, or dismissal. either by completing the work in the subject or by passing a reex- amination, the I will automatically become an F unless the dean of the School of Art extends the time or the student withdraws from school before the deadline date. 54 THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

W Indicates that the student has received permission from the Academic Probation and/or Dismissal from The Cooper Union dean of the School of Art and the instructor to withdraw from a A semester rating of all courses, (i.e., School of Art and Faculty course while passing the course requirements at the time of with- of Humanities and Social Sciences) below 2.5 places students drawal. This permission must be obtained no later than the end of on probation and makes them subject to dismissal by the the eighth week of the semester. The grade is not included in the Academic Standards Committee. Students with unexcused calculation of the student’s semester rating. absences and those excessively late to class are also subject to WU Indicates that the student has dropped a course without probation or dismissal. Students must maintain normal progress permission of the dean of the School of Art and the instructor toward the degree (see page 51). Failure to observe this standard after the end of the eighth week of the semester. This grade is not is grounds for probation or dismissal. included in the calculation of the student’s semester rating. Appeal Students may appeal to the Academic Standards When appropriate, certain courses may be designated as Committee of the School of Art in person and/or in writing when Pass/Fail courses. notified of their unsatisfactory academic performance. Students Pass Requirements completed. This designation is not included have on-line access to their grades. Please contact the Registrar’s in the calculation of the student’s semester rating. Office for more information. Fail Failure to meet the minimum requirements of a course. This When students are called to the Academic Standards grade is included in the calculation of the student’s semester Committee meeting, they are strongly advised to take this opportu- rating; its numerical equivalent is 0. nity to communicate/explain/defend their unsatisfactory academic A change in an official grade of record, other than the I desig- performance. The student should appear in person. If this is not nation, cannot be made by the dean of Admissions and Records possible the student may address the committee in writing. without the express written consent of the instructor and the dean After the hearing and deliberation the Academic Standards of the School of Art. Grade changes will not be accepted after one Committee shall either determine a probationary period or vote for year has elapsed from the completion of the course. dismissal. The decision of the committee is final. Change of Program Students on academic probation who do not improve their Adding a Course A student is permitted to add a course only academic standing during the probationary semester or who fail during the first week of a semester, during the drop/add period, to meet minimal academic standards during any subsequent and only with the adviser’s approval. semester may be called to the committee and are subject to Dropping a Course A student may drop a course during the probation or dismissal from The Cooper Union. first week of the semester, during the drop/add period, with the adviser’s approval. A student who wishes to drop a course may be Leave of Absence required to add equivalent credits in another course as needed to See pages 24–25 for Cooper Union’s regulations governing leaves maintain satisfactory progress towards the degree. of absence. A course dropped during the first week of the semester will In the School of Art, discretionary leave is available only upon be deleted from the transcript. completion of the first-year Foundation Program. Before taking Withdrawing from a Course After the drop/add period a such a leave, all financial obligations to The Cooper Union must student may withdraw from a course through the eighth week of be satisfied. the semester, with the dean’s and instructor’s approval. If the All requests for leaves of absence should be made through student is passing the course at the time of withdrawal, a grade the Office of Academic Advisement. Note that this office is closed of W will appear on the transcript. A student who stops attending between June 10 and August 15 each year. a course without permission of the instructor and the dean of the Students must request all leaves of absence in writing. A School of Art will receive a grade of WU; however, the instructor written request for reinstatement is also required. A student on is free to record a grade of F in such a case. leave is inactive and does not have access to the facilities of The If, in the opinion of the instructor, a student’s presence Cooper Union. is hindering the educational progress of the class, the student may be dropped from the class at the request of the instructor. A grade of W will be recorded for the course. THE SCHOOL OF ART 2015–16 COURSE CATALOG 55

Withdrawal from School Written requests for withdrawal from FACILITIES AND RESOURCES school should be addressed to the dean of the School of Art. The School of Art is primarily housed in the 1859 landmark Foun- Readmission Students who have been dismissed or who have dation Building. The renovated studios and labs offer complete withdrawn from the school and wish to be considered for read- facilities for a visual arts education. Seniors, juniors and many mission must reapply through the normal admissions procedures. sophomores are assigned individual studio spaces by lottery. In Such applicants may be asked to appear for an interview addition, some Foundation Program classrooms, many student with a representative of the Admissions Committee as part of studio spaces, the Herb Lubalin Study Center, and the 41 Cooper this process. Gallery are housed in the new academic building located at 41 Graduation To be eligible for graduation students must complete Cooper Square. the minimum number of credits required for the B.F.A. degree Graphic Design Two multimedia classrooms at 41 Cooper Square or the Certificate and must have been enrolled for a minimum of house Apple iMac workstations and a teaching station, equipped four semesters at The Cooper Union as a full-time student for the with high-definition video projection, sound and laptop access. In B.F.A., or a minimum of four semesters as a part-time student for addition, the Computer Studio provides scanners, black-and-white the Certificate in Art.* and color printers, and WiFi access. A professional staff of tech- All candidates for the B.F.A. degree must satisfactorily nical assistants is available during posted Computer Studio hours. complete the requirement for a senior presentation. A professionally-staffed and well-lit letterpress studio is Students must have a cumulative grade point average of 2.0 or available to all students. It is equipped with five Vandercook better in order to graduate from The Cooper Union School of Art. cylinder presses, one tabletop pilot platen press, polymer bases, Students eligible to graduate and participate in commencement a foil stamping machine, book presses, binding hand tools, a exercises must be approved by the Faculty of the School of Art. polymer plate maker, and well-organized foundry and wood type, Students who have not fulfilled the requirements for gradu- as well as all necessary spacing material and composing equip- ation will normally not be permitted to participate in commence- ment. Skilled technical assistants are available to help students ment exercises. execute all manner of printing and binding projects. Students also Graduation requirements as outlined in this catalog are have access to the collection of design ephemera, periodicals and guidelines that are subject to change. books in the Herb Lubalin Study Center, located on the lower level Students are responsible for their total accomplishment of 41 Cooper Square. and for being continuously aware of the standards defined in the preceding paragraphs. Painting/Drawing Both the historic Foundation Building and 41 Cooper Square house facilities for Painting and Drawing. In the Residence A candidate for a degree must have been enrolled Foundation Building, skylight ceilings flood abundant natural during two academic semesters preceding the granting of the daylight throughout a number of classrooms, workrooms and degree and in residence during the last semester. student studio spaces dedicated to painting and drawing. Addi- tional painting studios and a drawing classroom are located on the ninth floor of 41 Cooper Square. Classrooms are equipped with easels, model stands, palette tables, sawhorse tables and storage room for props. Common workrooms are furnished with slop sinks, worktables and storage racks to accommodate the preparation and storage of artwork. The painting offices in both buildings have equipment for check-out and a limited number of art supplies for sale. Staff tech- nicians are available during the week to provide technical support and help facilitate a healthy and safe work environment. A staff technician is available during weekend and evening hours.

* Admission to the Certificate in Art is suspended until further notice. 56 THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

Photography The traditional/analog photography area includes a Sculpture A large, all-college sculpture shop supports opportu- spacious, well-ventilated black-and-white communal darkroom nities for production of a wide range of three-dimensional work. with 16 photo enlargers capable of printing negatives ranging This facility is equipped with machinery for wood- and metal- from 35mm to 4 x 5 inches. An adjacent accessory darkroom working, mold-making, bronze casting and projects using wax, room houses a color/black-and-white enlarger that can print film clay, plaster and some plastics. An Epilog 36EXT 60 Watt Laser sized from 35mm to 8 x 10 inches. In addition, there is a large cutting/ engraving system has been implemented. black-and-white film processing area with automatic temperature A professional staff of technical assistants is available control and a dedicated alternative-processes room with UV expo- continuously during posted shop hours for management and sure units that can produce up to 30 x 48 inch exposures. supervision, as well as consultation and collaboration on projects The digital photography lab includes 16 Macintosh worksta- from many different studio disciplines. tions with seven 13-inch-wide and two 17-inch-wide inkjet printers. Film Film students can borrow Bolex 16mm cameras with zoom There are also numerous 8.5 x 11 inch flatbed scanners, one or prime lenses, a Canon Scoopic, Arri 16BL, or small format Nikon 35mm film scanner, and numerous Wacom tablets. An Super8 cameras. Camera kits include light meters and complete additional advanced digital lab houses two Macintosh worksta- instructions. Film is sold at the Checkout Office and students tions, two 17-inch-wide professional-quality inkjet printers, a Nikon can hand-process it onsite or send it to a local lab. Processed medium-format film scanner, as well as a Hasselblad Flextight film can be converted to digital files with a custom-built 16mm film scanner capable of scanning film sized from 35mm to 5 x 7 HD transfer machine, or edited on a Steenbeck flatbed editor or inches. Students may request prints up to 44 x 90 inches to be Super8 viewers. A JK optical printer is available for contact prints made on one of two wide-format inkjet printers. or optical special effects. The screening room is equipped for A well-equipped studio provides space and tools to photo- projection of 16mm and Super 8 film. graph a wide range of sets using tungsten, electronic flash, or daylight-balanced fluorescent lighting systems. A complete teth- Video The Checkout Office provides HD camcorders for students ered capture system with a Macbook Pro is available for advanced in introductory classes. Advanced classes use professional large- photo students. A variety of large- and medium-format film sensor camcorders & HDSLRs with a range of lenses. GoPro cameras are available for checkout, as are a range of professional action cameras and older formats are also available. Students can DSLR cameras including the Canon 5D Mark III. borrow fluid-head tripods, shoulder rigs, stabilizers and a variety A knowledgeable staff of technical assistants is available of halogen & LED lighting kits. Grip equipment, gels and modifiers continuously during posted studio hours. like umbrellas and softboxes can be added to any light kit. Printmaking A well-equipped and ventilated printmaking shop The primary video editing facility has eight workstations accommodates intaglio, lithography, silkscreen and relief printing with Adobe Premiere Pro, After Effects and Photoshop, Final Cut processes and papermaking. The facility includes three lithography Studio, Pro Tools and other audio and video software. Additional presses, three etching presses and three silkscreen vacuum tables. outboard equipment includes various analog and digital & audio There is a dedicated computer facility with two large format printers and video decks, mixers and special effects devices. Other equip- for digital imaging and pre-press photographic work. There are ment (monitors, speakers, projectors, VCRs, DVD and media more than 100 stones for lithography and a collection of rollers for players) is also available for multi-media installations. The video lithography, monotype, and surface rolling in etching. The paper lab is networked and equipped with a video/data projector for mill is complete with beater, a 75-ton hydraulic press, vats and the instruction and viewing student work capability for both Western and Japanese papermaking. A professional staff of technical assistants is available Animation Animation students have access to still, video & 16mm continuously during posted studio hours. cameras for image capture, as well as light tables, peg bars and animation stands for analog cel animation, direct-on-film painting and stop-motion. The Animation lab has 10 workstations and provides support for two- and three-dimensional animation and stop motion capture. Additional hardware includes DSLR animation stands with Dragonframe Stop Motion software, a digital roto- THE SCHOOL OF ART 2015–16 COURSE CATALOG 57

scope station, flatbed scanner, vocal isolation booth and various Center for Design & Typography The Center, located at 30 analog and digital audio/video decks. This lab also serves as a Cooper Square, combines education with public service. supplementary facility for students working with film, video and Advanced graphic design students work in guided classroom situ- sound projects, has all of the same software and is networked and ations with actual outside non-profit agencies as clients, and on equipped with an HD video/data projector with surround sound for internal Cooper Union print and web design projects. instruction and viewing student work Galleries Several galleries around the campus are used to exhibit the work of students and outside artists in solo or group shows. In Sound Professional digital audio recorders are available, the new academic building at 41 Cooper Square, the 41 Cooper supported by a complete array of microphones including shot- Gallery and the Lubalin Center Gallery feature large windows guns, wired and wireless lavalieres, binaural pairs, contact mics, offering views from the building’s entrance and an abundance of and custom transducers. A dedicated sound editing room is natural light. These spaces, often used in conjunction with one equipped with ProTools HD and Reaper software with surround another and with the adjacent Rose Auditorium, serve as a highly mixing capabilities and a vocal isolation booth. visible site of artistic activity consisting of exhibitions, programs, and screenings for the Cooper Union community, neighborhood Screening Room/Classroom Classes are held in the Screening and city at large. Room, a theater for large-screen projection of film and HD video In the Foundation Building, a number of lobby galleries with 5.1 surround sound. The projection booth is equipped for present students’ artwork in the historical heart of the school, 16mm and Super 8, and offers flexible signal-routing with AV ties near many of the studios and shops where it was created. to the editing facilities. The room doubles as a shooting studio with Beginning late in each fall semester and carrying through a permanent green-screen and additional electric service for high the spring, gallery spaces in both the Foundation Building and wattage lighting. 41 Cooper Square showcase work by graduating seniors in The A professional staff of technical assistants is continuously School of Art, with additional exhibitions of exchange student available during posted studio hours. work, class projects and work by fellowship recipients. These exhibitions offer an opportunity for students to contextualize and The Computer Studio The Computer Studio, a part of the Depart- showcase projects developed throughout the course of the year. ment of Information Technology, is located on the eighth floor The annual student exhibition at the end of the school year— of 41 Cooper Square. It comprises two Apple iMac classrooms and referred to colloquially as the End of the Year Show—is mounted a central scanning and large-format color output area. The throughout the school’s exhibition, studio and classroom spaces Department of Information Technology supports both PC and Mac and features the work of art, architecture and engineering technology, and provides students with a wide range of digital students at all levels. media and imaging options. The facility houses Apple iMac computers, which can boot into Mac or Windows operating Herb Lubalin Study Center of Design and Typography Located systems, and Dell PCs; high-resolution reflective and transpar- at 41 Cooper Square, adjacent to the Lubalin and 41 Cooper ency scanners; black-and-white and color laser printers; and Galleries, the Herb Lubalin Center’s core collection includes large format color printers. The Computer Studio workstations are an extensive archive of Herb Lubalin’s work, as well as seminal capable of producing high quality digital video and audio for design ephemera by other important graphic designers. It also broadcast, new media and web publishing. houses a reference library pertaining to the history and theory of Software available includes complete suites of applications visual communication. In addition to the archive, the Center main- for graphic design, multimedia, 3D design, audio-video produc- tains a rich and varied programming schedule, including exhibi- tion and animation. The fully-networked studio also provides tions and lectures addressing major trends in graphic design. Internet access, CD and DVD production capabilities and printing to many different types of media. Digital video cameras, digital still cameras and microphones are available for loan by students in the lower level 1 A/V Resource Center. A professional staff of technical assistants is available Monday through Saturday during posted Computer Studio hours. 58 THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

COURSES FA 105 Four-Dimensional Design CALLIGRAPHY TE 305 Techniques in HTML This course investigates the properties and Programming Students should consult official of time and movement and the TE 216 Calligraphy This course explores techniques that schedules for courses offered in a fundamentals of four-dimensional Geometry, optical balance and the take advantage of the Internet as an given semester. There is no assurance design. Students explore duration, stroke of the broad-edge pen are artistic medium. Students will demon­ that a courses listed in this catalog condensation, expansion, interruption, primary influences that shape the strate their skills and understanding­ will be given every year. simultaneity, stillness, action and Roman alphabet. Students learn the of HTML, CSS, Javascript and APIs Each school offers a range of situation through a wide range of fundamentals of “beautiful writing” through designing and building elective courses that are open to materials. through the study of historical models interactive projects, using open all students; consult each school’s 3 credits. Spring only. and the principles that are the basis source software. course listing. Burckhardt/Issa/Lehyt/Raad of classical and modern letterforms. 2 credits. One-semester course. Exercises in ink train the hand Cannot be repeated. Free elective credit. Prefix Key FA 109.1, FA 109.2 kinaesthetically to write letters with Sparling FA designates studio courses (meet Three-Dimensional Design graceful movement. Exercises in pencil three or four hours per week) Students work on projects that explore train the eye to see and analyze the CONTEMPORARY SE designates seminars or lecture the fundamentals of forms and space subtle geometry and skeletal “ideal” ART ISSUES courses (meet two or three hours and investigate the properties of form of letters. Precise rhythm in materials, structure, mass, scale, light per week) letter-spacing and careful line-spacing SE 401A&B Contemporary and motion. TE designates techniques courses create the color and texture of the Art Issues (meet four hours per week) 3 credits per semester. page. The class will have an emphasis Topic for Fall 2015: One-year course. on page design involving hand written Collective Power Required Adams (Sabbatical Fall 2015)/Duerksen/ compositions. Roman and Italic The increasing number of college Farmiga/Finley/Lins capitals and small letters will be the degree programs termed “Social Foundation Courses focus of first semester students. Those Practice,” and recognized art SE 150 Foundation Project who repeat may be introduced to other collectives illustrate the normalization A course that brings together all FA 100.1, FA 100.2 historical hands. of collective work as a mainstream Foundation year students around a Introduction to Techniques 2 credits. One-semester course. May artistic strategy. Yet collaboration in series of presentations that introduce An introduction to the physical aspects be repeated once. Free elective credit. art is frequently political by nature, or, various artistic practices, critical of working with wood, metal, plaster— DiEdwardo at least, claims this status. The group languages, and criticism. The course and plastics, as well as an introduction dynamic allows for a certain kind of intends to present contrasting to on-campus computer facilities and FA 419 Independent Study anonymity that often translates into historical and contemporary models of resources. A basic introduction to the in Calligraphy a high degree of open confrontation creating, seeing, speaking and thinking Adobe interface, specifically Photoshop 1-3 credits. Requires approval of and criticality. But, in war rhetoric, about art. and Illustrator will be provided. instructor and the dean of the to collaborate can mean “ to work ½ credit per semester. One-year 1 credit. Fall semester only. School of Art with the enemy.” To collaborate can course. Pass/Fail. Staff Morgan/Rockhill also connote neo-liberal, creative COMPUTER TECHNIQUES entrepreneurialism. This is to say, FA 101 Color Elective, there are many ways to engage the A study of the physical, perceptual, TE 303 Techniques in Photoshop other. Through this course we will art historical and cultural aspects Prerequisite and This course explores techniques and concertrate on collective efforts in of color. The phenomenon of color Advanced Courses projects in Photoshop. Students will contemporary practices in the U.S. and principles of light are explored complete projects that demonstrate and abroad. Students taking this in various media towards an Students may enroll in advanced their skill and understanding of digital course are expected to present a short understanding of color application in studio classes with the same course image creation. Students will apply the paper as well as to prepare assigned all of the fine art disciplines number multiple times. Instructors software to projects that they are texts for group discussions. We will and architecture. and syllabi in these courses will vary. engaged in or planning. A structured also develop a collective project that 2 credits. Fall only. Ellis/Osinski/Rodman In addition, the content of advanced series of projects/problems will be will bring notions of antagonism and studio classes changes with the mix presented to help students master the solidarity into action, FA 102.1, FA 102.2 of students in each class. various techniques and tools as well 2 art history credits. One-semester Two-Dimensional Design Consequently, the development of as the application of the software to course. May be repeated once Exploration of the visual and individual students’ work varies with real world situations. for art history credit. intellectual aspects of form on the the interchange of ideas among these 2 credits. One-semester course. Cannot Herrera-Prats two-dimensional surface, in a variety students and their instructor. be repeated. Free elective credit. TBA of media. Investigations into the relationships of perception, process The School of Art believes that the TE 304 Techniques in After Effects and presentation. ability to work with the same instructor This course explores techniques and 3 credits per semester. One-year course. in the same discipline multiple times projects in Adobe After Effects. Essl/Lindell/Morton/RublTochilovsky (even as the course content changes) Students will complete projects that can foster a valuable mentoring demonstrate their skill and FA 104.1, FA 104.2 relationship between an instructor and understanding of visual effects and Basic Drawing (Analytical an advanced student. motion graphics. Projects will be and Descriptive) faculty and student generated. A course in freehand drawing designed 2 credits. One-semester course. Cannot to emphasize perceptual and inventive be repeated. Free elective credit. skills in all drawing media. Garrett 3 credits per semester. One-year course. Brown/Lawley/Masnyj/Morgan THE SCHOOL OF ART 2015–16 COURSE CATALOG 59

DRAWING FA 345A, FA 345B Advanced Note: Film I is required of all students FA 209 Video II Drawing: Guest Artist Series who wish to pursue additional work in Students develop shooting and editing PREREQUISITE COURSE This course is intended to help the medium. skills with an emphasis on using digital students clarify and further the growth camcorders and digital non-linear FA 240A, FA 240B Drawing I of their own work through group FA 375 Film II editing and compositing systems. The course is designed to explore the and individual critiques, classroom This introduction to 16 mm filmmaking A sequence of short assignments phenomena of drawing as basic to the presentations and discussions with covers a wide range of techniques introduces students to specific digital visual language of all disciplines. The contemporary guest artists and the such as shooting with the reflex Bolex, techniques and a range of software. fundamental notion of observation and instructor. lighting, single-frame construction, Students will also begin developing analysis in drawing is investigated. 3 credits. One-semester course. sound and editing. Students learn their personal conceptual orientation As preparation for work in an advanced Gleeson 16mm filmmaking with hands-on and vocabulary. Students will level, the course involves further experience and are encouraged to use complete a series of short videos, as development of drawing skills and FA 346A, FA 346B the unique qualities of the medium well as explore both mainstream and techniques, as well as an emphasis Advanced Drawing to express their original visions. This experimental approaches to the moving on individual aesthetic development. Offered to students working course integrates theory and analysis image. Assignments and group critiques are independently in any medium. Must be of cinematic language with film 3 credits. May not be repeated. central to the course. self-motivated. There will be group and practice. Films made by independent Prerequisite: Video I. Liu 3 credits per semester. One-semester individual critiques filmmakers and artists will be course. May be repeated once. 3 credits. One-semester course. screened and discussed and advanced ADVANCED COURSES Prerequisite to all Advanced Drawing. Goldberg filmmaking techniques such as optical- Gleeson/Lawley/Leary printing and multiple-exposure will be FA 376A Animation I FA 347A, FA 347B Advanced Drawing taught. Critiques of student work will Students will learn an arsenal of ADVANCED COURSES Offered to students working take place at various points during the physically-based film animation independently in any medium. semester and students are required to techniques from line animation, direct- FA 341A, FA 341B Must be self-motivated. There will be complete their own final 16mm sound on-film and roto-scoping to cut-out Advanced Drawing group and individual critiques. film by the end of the course. animation. Students will apply their Advanced studies in drawing 3 credits. One-semester course. 3 credits. May not be repeated. skills and passions based in their emphasizing the student’s conceptual Gleeson Prerequisite: Film I. Perlin own work in other art forms (drawing, independence from traditional painting, photography) and will make draftsmanship. This course is for Advanced Drawing/Visiting Artists FA 208 Video I a few short animation projects over students who have an established Course description varies according to An introduction to video production, the semester. The course emphasizes direction in drawing. the instructor. postproduction, history and criticism. the creation of meaningful and 3 credits. One-semester course. Barth Students are introduced to basic realized films through the integration For Spring 2016 and later semesters, camera operations, sound recording of content and ideas with aesthetics FA 342A, FA 342B please see course schedule and and lighting, as well as to basic and technique. All animation artwork Advanced Drawing registration materials for course editing using Apple’s Final Cut Pro will be created non-digitally, though Students are encouraged to explore descriptions specific to Visiting Artists software, and to DVD production students will learn to shoot and finish and experiment with drawing as a way teaching that semester. using Apple’s DVD Studio Pro. Three their projects both digitally and to to further develop visual understanding assignments are to be completed film. Classes will incorporate basic of pictorial and sculptural space. The FA 449A, FA 449B during the semester: two are assigned technical instruction, viewings and issues surrounding representation and Independent Study in Drawing in conjunction with the professor. discussions about a variety of classic perception are addressed. The focus 1-3 credits. Requires approval of Critiques of the assignments are and contemporary animation films, of this class is to help students to use instructor and the dean of the crucial to the course as students are hands-on animation work and critiques. drawing as a critical and procedural School of Art expected to speak at length about 3 credits. May not be repeated. Reeves tool. Using notebooks and journals as the formal, technical, critical and well as reading and research methods FILM/VIDEO historical dimensions of their works. FA 376B Animation II to process ideas, students will work Weekly readings in philosophy, critical Students will create and complete theory, artist statements and literature individual advanced animations, with drawing to advance and integrate PREREQUISITE COURSES their individual studio practice both are assigned. The course will also utilizing and building upon techniques include weekly screenings of films and learned in Animation I. Through technically and conceptually. Group FA 270 Film I videos, introducing students to the presentations and critique, screenings critiques and drawing sessions as An introduction to the techniques and history of video art as well as to other of classic and inventive animations, well as individual meetings with the aesthetics of filmmaking. In a mixture contemporary art practices. and in-class work, students will instructor are integral components of of theory and practice, participants will 3 credits. One-semester course. broaden their perception and command the course. be required to produce at least two film May not be repeated. Prerequisite of animation language and practice. 3 credits. One-semester course. projects in response to concepts and to Video II; Jemison/McWreath Several animation techniques will Bordo (Sabbatical Fall 2015) issues raised. The course is in three be introduced. Projects begun in parts: technical instruction, critique and Note: Video I is required for all Animation I may be expanded in FA 343A, FA 343B Advanced Drawing screenings of artists’ work. Students students who wish to pursue additional Animation II. The class will have a Offered to students working are trained in all aspects of filmmaking work in the medium. screening at the end of the semester independently in any medium. from shooting, lighting and sound to to exhibit their completed projects. Must be self-motivated. There will be editing in film or on computer and DVD 3 credits. Prerequisite: Animation I group and individual critiques. authoring. There are weekly reviews or permission of the instructor. 3 credits. One-semester course. Masnyj of student works-in-progress and each Reeves class will include survey of the history FA 344A, FA 344B Advanced Drawing of artists working in film. Offered to students working 3 credits. One-semester course. independently in any medium. May not be repeated. Prerequisite Must be self-motivated. There will be to all advanced film courses. group and individual critiques. Perlin 3 credits. One-semester course. Lawley 60 THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

FA 377A, FA 377B FA 479A, FA 479B ADVANCED COURSES FA 317A, FA 317B Advanced Advanced Film Independent Study in Film Design: Open Studio Independent projects workshop in 1-3 credits. Requires approval of FA 310 Information Design In this course students will complete Super 8 and 16mm film. As well as instructor and the dean of the School The visual communication of complex two fully realized independent working in depth with film, students of Art information is introduced through projects. Emphasis will be placed on are encouraged to explore all presentations and studio projects that contemporary graphic design practices possibilities of the moving image from FA 489A, FA 489B explore organizational structures such and developing a personal aesthetic. expanded projection techniques to Independent Study in Video as charts, diagrams, maps, illustrations, Visiting lecturers, readings, and kinetic constructions. 1-3 credits. Requires approval of photographs and typography. Computer individual meetings with the instructor 3 credits. One-semester course. instructor and the dean of the instruction will be provided as it relates will complement group critiques. May be repeated. Prerequisites: Film School of Art to specific projects. 3 credits. Prerequisites: Graphic Design I and one of the following: Film II or 3 credits. Prerequisites: Graphic Design I I and II. Pre- or corequisite: Typography. Animation II. Joskowicz/Perlin GRAPHIC DESIGN and II. Pre- or corequisite: Typography. Essl Glauber FA 380A, FA 380B PREREQUISITE COURSES FA 320 Visual Identities Design Advanced Video FA 311 Publication Design The class will concentrate on Advanced students use all the FA 211 Graphic Design I The complex issues unique to innovative solutions to graphic identity facilities of the video lab and continue An introduction to the techniques and editorial and publication design are systems. Students will increase their to develop their personal styles visual language of graphic design. explored through studio projects and proficiency in developing symbols and through close individual instruction. Weekly projects explore fundamental presentations that emphasize the grid, typography to build a visual language Students complete two fully realized concepts in form, composition, effective sequencing and typographic that amplifies the narrative of a independent projects. Analysis and and typography. Presentations and form. Computer instruction will be company, organization or product. discussion of current video exhibitions readings in graphic design history will provided as it relates to specific projects. 3 credits. Prerequisites: Graphic supports group critiques. complement weekly assignments. 3 credits. Spring only. Prerequisites: Design I and II. Pre- or corequisite: 3 credits. One-semester course. Students will explore basic image- Graphic Design I and II. Pre- or Typography. TBA May be repeated. Prerequisite: Video II. making processes as well as be corequisite: Typography. Corbitt Joskowicz/Perlin instructed in digital production FA 322A, FA 322B techniques. FA 312 Experimental Typography Professional Practice FA 381 Digital Sound Design 3 credits. Fall only. This course will emphasize innovation, Graphic design projects for non-profit Workshop Gasparska/Joel imagination and creativity in the realm institutions, under the direction An investigation of the structures of of typography, manipulating it freely of faculty and in cooperation with the sounds around us and how to listen FA 212 Graphic Design II as a means of expression. Computer the staff of the Center for Design to, analyze and manipulate them, with The complex relationship between, techniques as well as hand drawing, and Typography, provide students special emphasis on sound for picture. provides a rich historical and collages and pictures will be used to with an opportunity for professional Discussion of how the gulf between intellectual base for experimental compose layouts, including posters, experience. Portfolio presentation and the sounds of the environment and projects combining verbal and pictorial limited art books and animated professional ethics will be addressed. composed music was bridged in the information. Weekly projects reflect a typography for the web. Students will 3 credits. One-semester course. 20th century. Training in the use of broad range of disciplines within the choose a theme and develop it with Prerequisites: Graphic Design I and II. Protools, an all-inclusive system for field of design. Computer instruction abstract type expression. Pre- or corequisite: Typography. Lang recording, editing and mixing sound, will be provided as it relates to specific 3 credits. Prerequisite: Graphic Design which has become the system of projects. I and II. Pre- or corequisite:Typography. FA 326 Interactive Design Concepts choice in the modern studio. 3 credits. Spring only. Prerequisite: Famira An exploration of the nature of 3 credits. Offered Fall and Spring. Graphic Design I. Gasparska/Joel interactive design and how it informs Pre- or corequisite: Film I or Video I FA 313 Art of the Book and transforms experience. Information or Motion Graphics. May not be FA 215 Typography In this course the book will be explored structures, navigational issues, design repeated. Burckhardt Empirical explorations of typographic as an interdisciplinary medium, strategies and social implications messages through placement, massing, placing emphasis on integrating and of interactive experiences using FA 382A, FA 382B weight, size and color are analyzed to experimenting with form, content, traditional as well as electronic media The Question of the Document develop an understanding of aesthetic structure and ideas. During the first half will be examined. This class is open to students working composition of typographic form and of the semester, students will make a 3 credits. One-semester course. in all forms. Students are expected meaning. Legibility, unpredictability number of books, examining sequence, May not be repeated. Prerequisite: to initiate and work on independent and sequencing, as well as the use of series and text/image relationships, Techniques in HTML and Programming projects—individually or in groups grid structures, are investigated. The using various book structures. These or permission of the instructor. Essl and must be willing to show work in development of critical judgment about “sketches” will prepare students for class while in the process of making typography is emphasized. an extended book project during the FA 327 Advanced it. The focus of the class will be on the 3 credits. Prerequisite: Graphic Design I. second half of the term. Interactive Design Concepts: question of the document in media art Pre-or corequisite: Graphic Design II. 3 credits. Fall only. Morton Computational Media and related themes of history, facticity, Tochilovsky An advanced design course in testimony, witnessing and evidence. FA 315A, FA 315B Advanced Design interactive computational media. Students are expected to attend all Topic and instructor vary. The course will explore advanced screenings and exhibitions, keep up Fall 2015: Type Design interactive design concepts utilizing with the assigned readings and write In this hands-on class students will software which that includes short papers. go from the fundamentals of writing Processing and Macromedia Flash 3 credits. Pre- or corequisite: and hand drawn type to contemporary as well as XHTML coding. Students One advanced studio course. May be digital type design. By the end of this will complete two fully realized repeated with a different instructor class every student will have created independent projects. Analysis of TBA their own, original digital font. relevant work and readings support 3 credits. Prerequisite: Graphic group critiques. Design II. Pre- or corequisite: 3 credits. One-semester course. Typography I. Famira Prerequisite: Interactive Design Concepts. TBA THE SCHOOL OF ART 2015–16 COURSE CATALOG 61

FA 328 Motion Graphics MATHEMATICS IN ART FA 334A, FA 334B Advanced Painting/Visiting Artists Students will explore the conceptual Advanced Painting Course description varies according to and technical challenges of design for Ma 151.1 Mathematics in Art A seminar course for students who the instructor. For Fall 2015: the television screen. All aspects of This course deals with the period have the ability to work independently industry video/broadcast production are beginning with Pythagoras in ancient in their studios with a primary focus in FA 332A Advanced Painting introduced and integrated into a design Greece and goes up to the present day. drawing or painting. Students will be The course takes as its starting point core focused on strong communication. Topics included: Godel’s work on the expected to develop their ideas and the dissolution of the category of Projects include identity design, limits of mathematics, Euclidean and work independently, but the class will painting through the works of Lygia combining kinetic typography, animation, non-Euclidean geometries, infinity, meet together every week or two for Clark and Piet Mondrian. We will sound and video. The course includes paradoxes and soap film experiments. discussion of each other’s work, as work together to reconstruct this workshops in After Effects, Final Cut Also discussed are black holes, the well as various museum and gallery particular narrative of development and Pro and Protools. Big Bang theory, relativity, quantum shows, readings or slide presentations collapse. To this end, we will generate 3 credits. One-semester course. theory and atomic particles. The course of current work. The course will questions and responses through our Prerequisites: Graphic Design I and is open to all Cooper Union students emphasize experimentation and coursework that could address the II. Pre- or corequisite: Typography. but is primarily oriented toward expansion of one’s visual language and issues surrounding painting after the Vondracek making the above-mentioned concepts process, and the ability to articulate breakdown of medium-specificity that comprehensible to those with very these ideas in discussion. these artists helped to enact. Research, FA 429A, FA 429B little mathematics in their background. 3 credits. One-semester course. Bordo collaboration, and critical inquiry will Independent Study The relatedness of seemingly disparate (Sabbatical Fall 2015) be used to elaborate our understanding in Graphic Design fields (science, art, mathematics, of these historical models, alongside 1-3 credits. Requires approval of music) is a central theme of the course. FA 337A, FA 337B attempts at clarifying the possible instructor and the dean of the School 3 general studies credits. Advanced Painting methodological parameters of our own of Art Spring only. Bailyn Students will explore the inner practices. The aim of the course is to reservoirs of the imagination and sufficiently historicize our own work TECHNIQUES investigate, as well, specific external and to reflect on the material PAINTING resources for imagery. The course will and ideological forces that shape it. TE 306 Techniques in Letterpress seek to develop a range of expressive 3 credits. One-semester course. This course explores techniques and PREREQUISITE COURSE vocabulary including representation Visiting Artist Cheney Thompson projects in typesetting. Students will and abstraction. Group and individual complete projects that demonstrate FA 130A, FA 130B Painting critiques will be augmented through FA 334A Advanced Painting their skill and understanding of A studio experience with the physical, discussions of museum and gallery This class will consider the value typographic composition and compositional and conceptual exhibitions and slide presentations. of life outside the studio and how letterpress printing techniques. components of pictorial invention and Emphasis will be upon developing a those experiences are filtered and 2 credits. One-semester course. Cannot image-making. Readings, assignments personal visual direction. assimilated into practice. Time be repeated. Free elective credit. TBA and critiques will enhance the 3 credits. One-semester course. TBA spent in the studio and in review development and articulation of an will be balanced with readings, trips INTRADISCIPLINARY inventive individual approach to the FA 338A, FA 338B and visits. Individual studio and painting discipline in preparation for SEMINAR Advanced Painting/Water Media group discussions will focus on the advanced level work. Students will focus on water media— students’methodology, their critical 3 credits per semester. One-year acrylic, transparent watercolor and voice and the play of material problem SE 403A, SE 403B course. Prerequisite to all Advanced gouache—through work on canvas solving. Through continuing dialogue IntraDisciplinary Seminar Painting courses. Bordo (Sabbatical Fall and paper. The class will explore the students will examine within the This course is a hybrid between a 2015)/Naess/Treib/True specific technical challenges and pluralism of today’s painting practice lecture series and discussion seminar. characteristics inherent in these media their own positions and opinions. It is intended to provide a stimulating ADVANCED COURSES including the range from transparency The course will encompass painting, and rigorous forum between students’ to opacity. Individual approaches sculpture and architecture. Students artistic concerns and those of twelve FA 331A, FA 331B will be encouraged in developing the will question the ways in which space visiting speakers in a public lecture Advanced Painting aesthetics of the evolving image from is made and perceived. There will be series of the School of Art. Class For students who wish to have spontaneity to studied expression, wide range of approaches, (formal, discussions will center on diverse their work critiqued primarily on an from figuration to abstraction. social and political) while using the presentations by artists, theorists, individual basis. High motivation and Exposure to selected examples of framework of tradition to question the activists, designers, writers, curators, dedication are of primary concern. historical and contemporary imagery construction of space. gallerists and other practitioners There will be occasional group will be accomplished through slides, involved in the arts from positions that 3 credits. One-semester course. critiques. exhibitions and gallery or studio visits. Visiting Artist Alex Kwartler. embody an interdisciplinary approach 3 credits. One-semester course. True or that imply new uses for disciplinary 3 credits. One-semester course. TBA traditions. Accordingly, the course FA 339A, FA 339B Advanced is designed to introduce students to Painting/Guest Artist Series some of the debates currently driving This course is for students who contemporary art and the larger social have made a strong commitment to context it embodies. Members of the painting. Students are expected to class are expected to be active partici­ work independently in their studios on pants and will therefore be asked a series of paintings that will develop to respond with some intellectual during the semester in response to invention to a variety of topics with a dialogue with the different guest weekly discussions, readings, and artists. written or oral presentations. 3 credits. One-semester course. 2 credits. Free elective credit. Bordo (Sabbatical Fall 2015) Raad 62 THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

FA 335A Advanced Painting PERFORMANCE ADVANCED COURSES FA 363A, FA 363B Advanced This course is a seminar designed for Photography: Digital Photography students working independently on FA 290 Elements of Performance FA 360 Advanced Photography: This studio course focuses on issues their own projects. Students should This course examines the elements Printing Images related to digital imaging. Students will possess an eagerness to expand that unify the diverse set of practices This course will focus on the materiality explore ideas related to digital work as upon existing skills as well as a gathered as “performance art.” Engaging of the photographic print, both analog well as techniques such as color manage­ desire to advance their own artistic concepts of time, movement, voice, text and digital. Options in silver-gelatin ment, various corrective measures, and vision. Assignments are designed and body in performance-based work, printing including toning, bleaching and options in digital cameras and printers. to encourage this individual search the course addresses both the historical plating, as well as advanced options in Issues central to photography in the and bridge ideas examined in class development of performance practices digital printing will broaden students’ digital era will be explored. Students will to further develop a studio practice. within the field of contemporary art, as understanding of the photographic pursue individual projects that will be The course will mainly consist of well as their current manifestations. image. Issues involving photographic discussed in group and individual critiques. scheduled studio visits with individual Lectures, screenings, readings and representation will be addressed 3 credits. Prerequisite: Photo I. students, who will be expected to meet discussions support the development of through discussions, group and Osinski) weekly in class for group discussions individual and collaborative studio work. individual critiques, hands-on demon- of current museum and gallery 3 credits. One-semester course. strations and field trips. Students FA 365A, Advanced Photography: exhibitions, presentations, and critique. May not be repeated. Monforte will produce a finished set of printed Digital Workflow Students will be required to coherently images by the end of the semester. In this critique-based studio class, present their ideas and work vigorously FA 395 Performance 3 credits. Prerequisite: Photo I. students will advance their work by in the studio, demonstrating progress Performance or the live event has been Osinski focusing on the digital color workflow. throughout the semester. Process and a continuous element of art practice Technical instruction will include: a experimentation will be emphasized throughout most of the 20th century. FA 361 Advanced Photography: dvanced digital camera controls, and fostered by the instructor, as each The changing technologies of sound Topics high-end scanning techniques, student works towards a personalized and digital recording devices and their Topic varies. For Spring 2016: The Lightroom, color management through intention for Painting. increasing availability have enhanced Constructed Image. This studio art Photoshop and the use of color profiles 3 credits. Visiting Artist Amy Feldman the possibilities of documentation and course will enable students to produce as well as inkjet printing. Students will allowed artists to consider the mediation a body of work based upon the physical advance their work through individual FA 336A Advanced Painting and documentation of a live event as construction of images. Pre-camera, and group critiques, discussion and The course will emphasize attention an integral part of the work itself. In post-capture, and printing techniques, workshops. in equal parts to art-making and this course, students will examine the both analog and digital, will be explored. 3 credits. Prerequisite: Photo I. analytical thinking in students’ studio interaction between performance and Individual and group critiques will be Fall only. Vahrenwald practices. We will work at consistently its documentation through practical, supplemented by discussions, readings, defining the language and terminology historical and theoretical interrogation. presentations and technical instruction. FA 365B Advanced Photography: used in class discussions, individual The class proposes to address 3 credits. Prerequisite: Photo I. Studio Photography meetings and group critiques so documentation, not as an inadequate Williams The course will primarily address that students will leave the course representation nor as a nostalgic marker lighting, including the use of hot lights, with a solid understanding of crucial but as something that operates within a FA 362A, FA 362B flash, and strobes, with specific studio concepts in the field. Discussions will distinct system that can become a vital Advanced Photography: equipment such as sweeps, diffusers, be focused around readings, artist site of art production. This class takes Lighting on Location backdrops, tethered shooting, interviews, assigned exhibition visits, an interdisciplinary approach to making This critique-based studio course Lightroom, and Capture One. Retouching student presentations and class trips performance work. The medium of explores the use of light on location and color correction in Photoshop will to galleries, museums and artists’ performance and its utilization of in photography. Topics explored by be covered. studios. The aim of the course is to photography, video and sound will be this course will include the use and 3 credits. Prerequisite: Photo I. prioritize critical engagement, both in explored. Students will read and discuss modification of available light as well Spring only. Vahrenwald and out of the studio. texts, looking at the work of other artists as the use of portable light sources 3 credits. One-semester course. and making their own work. such as flash (both single and multiple), FA 366 Advanced Photography: Visiting Artist Mark Gibson 3 credits. One semester course. Visiting portable battery powered strobes, Alternate Processes Artist Yves Laris Cohen (Fall 2015) remote light triggers and other tools. A course for students who wish to For Spring 2016 and later semesters, The emphasis of this course will explore the possibilities of hand- please see class schedule and PHOTOGRAPHY be on using lighting techniques applied photographic emulsions and registration materials for course outside the studio in order to gain an alternative methods of printing. descriptions specific to Visiting Artists PREREQUISITE COURSES understanding of how light effects the Processes will include liquid light, teaching that semester. way we interpret our world. cyanotype, palladium, color copier and FA 106 Photography I 3 credits. Prerequisite: Photo I. digital printing options. Student FA 439A, FA 439B A one-semester course which explores Vahrenwald work will be discussed in relation Independent Study in Painting the visual language of photography to contemporary art issues. 1-3 credits. Requires approval through both black-and-white and color 3 credits. Prerequisite: Photo I. Williams of instructor and the dean mediums. Students will learn camera of the School of Art controls through the use of 4x5 and digital cameras. 35mm cameras are optional. Darkroom printing augments class assignments and student projects.* 3 credits. One-semester only. May not be repeated. Hatleberg/Mickey/Osinski

*It is recommended that students have digital cameras. Instructors will make camera recommendations on the first day of class for those students who may wish to purchase one. THE SCHOOL OF ART 2015–16 COURSE CATALOG 63

FA 367 Advanced Photography: Advanced Photography/ ADVANCED COURSES FA 355A, FA 355B Cameras Visiting Artists Relief Contemporary photographers employ Course description varies FA 350A, FA 350B Students will be instructed in various a variety of technologies. This studio according to the instructor. Silkscreen Workshop relief printing techniques, including An advanced workshop in which the traditional Japanese water-based class will consist of a series of demon­ For Fall 2015: strations and assignments to explore students are free to explore screen woodblock and Western techniques how the history and aesthetics of FA 364A Advanced Photography printing, graphic arts and photography. with oil-based inks on wood and This course is for students who There will be formal teaching of linoleum. Use of the hydraulic press photography are inextricably linked to have an active, technically proficient advanced photographic processes such will allow large format works to be the technological developments of the practice. It is a critique class in which as halftone and color separation. produced. Hand-printing techniques medium. A wide spectrum of ‘cameras’ students must present six excellent 3 credits. One-semester course. will be taught as well. Small edition will be introduced, specifically the photographs every two weeks. Prerequisite: Silkscreen I. Clayton/ printing in multiple colors will be camera obscura, analog and digital Students will be asked to do research Nobles emphasized. camera formats and the panorama. pertinent to the work they show, which 3 credits. One-semester course. Students will make analog, digital or they will then present to the class. FA 351A, FA 351B Shibata hybrid prints of their choosing. Students will assemble a final group Lithography Workshop 3 credits. Prerequisite: Photo I.TBA of their ten best pictures bolstered by An advanced workshop concentrating FA 356A, FA 356B a solid understanding of their context on individual projects and further Etching Workshop: Photogravure FA 368A, FA 368B and meaning. investigations into the reproducible This class will primarily teach Advanced Photography: 3 credits. Prerequisite: Photo I. image and its implications. Discussion approaches to the 19th century process Guest Artist Series Visiting Artist Dana Hoey and demonstration will be offered both of photogravure. Photogravure is a truly This course is intended to help in the direction of a more technical and continuous tone photographic intaglio FA 469A, FA 469B students clarify and further the growth chemical understanding of lithography process. Tonalities are created by an Independent Study in Photography of their own work through group and and working in conjunction with other ink layer, gradually varying in depth, 1-3 credits. Requires approval of individual critiques, classroom traditional print techniques. with a very fine aquatint to hold the instructor and the dean of the presentations and discussions with 3 credits. One-semester course. ink. Photogravure will be the starting School of Art contemporary guest artists and the Prerequisite: Lithography I. Nobles point for the projects rather than the instructor. final step. Students should be open 3 credits. Prerequisite: Photo I. PRINTMAKING FA 352A, FA 352B to continuing to work on plates with Osinski Etching Workshop traditional intaglio techniques. PREREQUISITE COURSES This course will involve individual 3 credits. One-semester course. FA 369A Advanced Photography directions in etching as well as the Prerequisite: Etching I or Photo I. TBA Students will produce work using FA 250 Silkscreen I development of projects combining photographic material(s), camera or any This course explores screen printing print technique and aesthetic goals. FA 459A, FA 459B photographic device of their choice. as a means of communication with The understanding and use of the Independent Study in Printmaking Work will be discussed in group critiques emphasis on the execution of these contemporary professional print shop 1-3 credits. Requires approval of as well as individual conferences with images. Students visit museums will be discussed. instructor and the dean of the School the instructor. Photographic issues and to learn to appreciate posters from 3 credits. One-semester course. of Art representation will be the subject of various historical periods. The actual Prerequisite: Etching I. TBA reading and class discussions. screen printing will be taught with TECHNIQUES 3 credits. Prerequisite: Photo I. the use of images, type and color. FA 354A, FA 354B Fall only. Raad The goal of the course is to combine Experimental Printmaking TE 353 Papermaking Techniques the components of art, printing and The course will supplement the This course includes the making of FA 369B Advanced Photography communication. traditional printmaking techniques of traditional Western paper from rags This course will explore multiple- 3 credits. One-semester course. etching, lithography and silk screen to a finished sheet and the making of image structures in photography and May not be repeated. Clayton/Davis with an introduction to linoleum traditional Oriental paper from tree will include issues and examples of woodcut techniques and monoprint/ bark to a finished sheet. Students learn sequencing, time, fictional and non- FA 251 Lithography I monotype combination of methods to use a pulp beater, dyes, sizings and fictional narratives and meta-narratives An introduction to traditional and appropriate to developing an aesthetic a small vacuum table for molding the and image and text relationships. contemporary image-making on understanding of the vocabulary of pulp. Simple binding and box-building Studio projects will be combined with lithographic stones and commercial the print. Color, multiple printing, techniques as well as marbling are lectures, presentations, field trips, aluminum plates, with emphasis on the work in series or book formats will demonstrated. readings and class discussions to technical aspect of the medium. The be discussed in developing student 2 credits. One-semester course. provide the critical framework leading various areas to be examined include projects. Free elective credit. DiEdwardo to the development and production stone graining, crayon and tusche 3 credits. One-semester course. of projects that address traditional drawing, processing, proofing and Prerequisites: 2 of the following 4 as well as experimental methods of edition printing procedures, etc. courses: Silkscreen I, Lithography I, multiple-image structures. Projects 3 credits. One-semester course. Etching I or Papermaking Techniques. can include but are not limited to: May not be repeated. Nobles Clayton/Gleeson/Nobles color/black and white, film/digital/ film stills. FA 252 Etching I 3 credits. Prerequisite: Photo I. An introduction to etching images Spring only. Morton on metal plates, through the use of hardground, aquatint softground. The emphasis is on the technical understanding of the medium. Other image-making processes to be covered are drypoint and engraving. 3 credits. One-semester course. May not be repeated. Powell 64 THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

PROJECTS SCIENCE RS 201h Topics in Physics: SCULPTURE Space, Time, Light, and Matter FA 349 Senior Presentation Project RS 201 Science Topics vary. The course provides an overview of FA 391A, FA 391B This project class seeks to mentor 3 general studies credits. Required discoveries in physics over the past Sculpture students in the development of science course. To be taken during two millenia, focusing on the develop­ This course helps students develop their senior presentations. The class the sophomore, junior or senior year. ment of modern theories. Topics include projects related to their own vision and presents and explores traditional and Davies/Jorgensen nature of light and matter, relativity, ideas. Class discussions address the alternative curatorial and exhibition quantum mechanics, evolution of the full range of conceptual and material models, including one-person and RS201a Earth Science universe and the nature of science. processes that generate production. group exhibitions, collaborative The course will cover a broad range Knowledge of basic algebra is assumed. Research and development will be and curatorial projects, site- and of Earth Science topics including Field trips and computer lab assignments given equal weight to finished work. institution-specific installations, understanding rocks and the stories are included in the syllabus. Intention, form, materiality and interventions and performance. Class they tell, the vast scale of geological context will be analyzed against larger discussions and individual meetings time, dynamic plate tectonic processes, RS 201i Science, Technology and questions of culture in relation to with the instructor will allow for a full climate change, and what makes the Societal Impact artistic practice. Student work will be range of critical interaction. A written planet habitable for life. It will inspire This course explores the ramifications reviewed by the entire class and by component is an intrinsic part of this wonder and a deep appreciation for of the latest scientific discoveries the instructor on an individual basis. project whether towards the writing the Earth. The course will present to and technological breakthroughs. Lectures, readings and field trips will of project proposals, artist statements, students a different way of looking How will they affect our lives and complement studio critiques. power point lectures, or artist talks at the Earth: not as something that is the planet? What social, moral, 3 credits. One-semester course. Adams and performances. Each student is constant and static but rather dynamic and ethical questions have inspired (Sabbatical Fall 2015)/Shea required to make a presentation to and constantly changing, a place with artists to use them in their work? the class outlining the parameters a broad and exciting history of which Each class will focus on a different FA 392A/FA 392B Sculpture of his or her artistic theses. Three we are only a small part. scientific discipline such as genetic This course is based on the recent graduates of the School of Art engineering, cognitive neuroscience, development of an in-depth practice representing different artistic practices RS 201f Introduction to tissue engineering, synthetic biology, that connects to the multiple properties and goals, ranging from those who Biomaterials and personal genomics. An explanation of sculpture. Thematic subjects will be attend(ed) graduate school, to those in From the time of cave paintings, artists of the science will be followed by open, based on individual body of work, the process of developing individual or have been depicting living organisms. a discussion examining the utopic/ at the same time, subject positioning, collaborative artistic practices, will be But what happens when the art con- dystopic myths surrounding these viewer/author relationship, and clarity invited to give artist talks and to join sists of the organism itself or its prod- technologies, fact vs. hype, and what of reading will be studied. Classes in class discussions as a further ucts? Living material is dynamic by questions should be raised as we will be guided by the theoretical and articulation of the senior presentation nature, and so the artwork changes implement them. Guest artists and affective connections the students experience within the extended Cooper with time, perhaps in unpredictable their work will be featured along with have in their engagement with materials community. ways. In this class we will explore vari- scientists and ethicists. and the practice of sculpture as idea 3 credits. One-semester. Bordo ous biomaterials, including organisms and as concrete daily activity. Ideas (Sabbatical Fall 2015) such as bioluminescent plankton and RS 201j The Climate System and mediums will be discussed and plants that respond to touch, fermenta- The Earth’s climate system is complex analyzed in relation to context, and FA 384A Projects tions that create color pigments or cel- and dynamic, and a solid understanding historical grounding. Texts of different This course is open to all third and lulose mats, and the DNA that controls of this system is crucial in order to kinds will be used as complementary fourth year students who intend to it all. The class will be part lecture, address concerns about human to the work being produced and as initiate or pursue a longer term (longer part hands-on experience. influences on climate. In this course tools for each student. Group critiques than a semester) art project. Students we examine the basic physical and will focus on delving deeply into each are expected to present their work-in- RS 201g Astronomy chemical processes that control the student’s work with special emphasis progress weekly, to research the works This course begins with an historical modern climate system, including the on connecting what the student wants of other artists, writers, and thinkers, overview and then introduces the role of incoming solar radiation, the work to be, how it functions, is and to participate actively in class contemporary understanding of the the greenhouse effect, ocean and experienced and read. discussions. universe. Students learn about the key atmospheric circulation, and El Niño. 3 credits. Lehyt Open to all 3rd and 4th year students. elements of the universe, including We also look at the methods and May be repeated with instructor’s motion, energy, gravity and light. archives used to reconstruct climate FA 393A/FA 393B Sculpture permission. Raad Topics include; the solar system and in the past. We explore the possible This course helps students explore its origins; the sun; stellar evolution effects of greenhouse gas emissions and develop their personal process including white dwarfs, neutron stars, caused by humans on modern and of making art, with an emphasis and black holes; galaxies beginning future climate by examining the models on sculpture. Formal and material with the structure of the Milky Way; used in climate prediction, and discuss choices will be discussed in relation dark matter, dark energy and the Big the challenges of modeling such a to intention, meaning, context, and Bang theory. Labs and field trips to an complex system. Although this course contemporary culture. Research and observatory augment class discussion. is taught from a primarily scientific development are given equal weight perspective, it includes discussions of to finished work. Students will discuss the roles policy and economics play in their process individually with the the current dialogue on global climate instructor, and present work for review change. Finally, we look at some of the to the entire class. In-class slide local impacts of climate change and presentations, readings, and field trips preparedness planning for New York City. will complement class discussions. 3 credits. Lins THE SCHOOL OF ART 2015–16 COURSE CATALOG 65

FA 394A, FA 394B FA 398A, FA 398B SOUND ART Sculpture Sculpture This course takes a concrete approach This course helps students develop FA 281 Project in Sound Art to the development of critical discourse projects related to their own vision and This class will introduce strategies about works of art. It exercises the ideas. Class discussions address the for understanding and participating in student’s ability to analyze the activity full range of conceptual and material the aural world. The course is divided of making sculpture in particular and processes that generate production. into specific weekly topics, including advances the student’s understanding Research and development will be acoustic ecology, circuit-bending, radio of how to proceed in the studio. given equal weight to finished work. transmission, synaesthesia and others. Problems of structure, materials, Intention, form, materiality and Screenings, readings and discussion meaning, intention and context are the context will be analyzed against larger are supported by hands-on workshops subject of class discussion. questions of culture in relation to in capturing, manipulating and 3 credits. One-semester course. artistic practice. Student work will be reproducing sound in unconventional Farmiga reviewed by the entire class and by ways. Grading is based on three the instructor on an individual basis. student projects and participation in FA 396A, FA 396B Lectures, readings and field trips will class discussions. Sculpture: Seminar in Public Art complement studio critiques. 3 credits. One-semester course. This course focuses on the production 3 credits. One-semester. Issa May not be repeated. Poff of artworks that question and/or re- invent the boundaries between public Sculpture/Visiting Artists and private spheres. Student projects Course description varies according will be generated and analyzed in to the instructor. relation to current transformations in culture and technology as they For Fall 2015: affect the meaning of “publicness.” FA 398A Sculpture Complementing studio production will 3 credits. Visiting Artist Lucy Raven be lectures, readings and discussions that engage social, political and urban Spring 2016 and later semesters, issues relevant to the topic. Traditional please see class schedule and approaches to public art, such as registration materials for course enhancement and commemoration descriptions specific to Visiting Artists will be challenged by more temporal teaching that semester. and critical strategies Historical examples will be examined, including FA 499A, FA 499B the Flaneur, Russian Constructivism, Independent Study in Sculpture the Situationists, Fluxus and 1-3 credits. Requires approval of Conceptualism, as well as the most instructor and the dean of the recent example of public interventions. School of Art 3 credits. Adams (Sabbatical Fall 2015) TECHNIQUES FA 397A, FA 397B Sculpture: Open Studio TE 390 Casting Techniques This course takes a concrete approach Casting Techniques is a process to the development of critical discourse intensive course covering the methods about works of art. It exercises the of translating a wax positive into student’s ability to analyze the activity bronze or other non-ferrous metals. All of making sculpture in particular and associated techniques from beginning advances the student’s understanding a plaster or rubber mold to casting, of how to proceed in the studio. chasing, finishing and patination of Problems of structure, materials, metal sculptures will be covered. meaning, intention and context are the Students will explore a variety of subject of class discussion. approaches to casting, as well as 3 credits. One-semester. Ashford engage in discussions involving the (Leave of Absence Spring 2016) history of bronze casting, and its place in contemporary art. 2 credits. One-semester course. May not be repeated. Free elective credit. Wilhelm 66 THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE AND ART

FACULTY Proportional-Time Zach Rockhill Ellen Jorgensen Faculty B.F.A., University of Kansas; M.F.A., B.A., New York University; M.A., Rutgers University M. Phil, Columbia University; PhD., Administration New York University Associate Professors Yasuyuki Shibata Saskia Bos, Dean Douglas Ashford B.F.A., Kyoto Seika University, Japan Claudia Joskowicz B.Arch, Univeristy of Houston (Leave of Absence Spring 2016) Erin Sparling Stamatina Gregory, Associate Dean M.F.A., New York University B.F.A., The Cooper Union School of the Art Institute of Chicago Judith Cantor Bernstein James Leary David True Alexander Tochilovsky Coordinator of Academic Operations B.F.A., The Cooper Union B.F.A., M.F.A., Ohio University B.F.A., The Cooper Union; Emmy Mickelson M.F.A., Cranbrook Academy of Art Cristobal Lehyt Coordinator of Student Exhibitions Universidad Catolica de Chile; Adjunct Faculty Michael Vahrenwald Hunter College; Whitney Independent Tia Jeung, Budgets Coordinator B.F.A., The Cooper Union Professors Study Program TBA, Assistant to the Dean M.F.A., Yale University Jen Liu Jack Barth Andrew Wilhelm Christine McCann B.A., Oberlin College B.A., California State University; B.F.A., Kutztown University; Administrative Assistant M.F.A, California Institute of the Arts M.F.A. University of California at Irvine M.F.A., Virginia Commonwealth Amy Westpfahl, Larry Brown University Darin Mickey Coordinator, School of Art Admissions B.F.A., The School of Visual Arts B.A., Washington State University; Jennifer Williams Office of Academic Advisement M.F.A., University of Arizona B.F.A., The Cooper Union; Ivan Monforte and Off-Campus Programs Jacob Burckhardt M.F.A., Goldsmith’s College (London) B.A., University of California, Los B.A., University of Pennsylvania Angeles Day Gleeson M.F.A., New York University Lorenzo Clayton Instructors Academic Adviser B.F.A., The Cooper Union Rondi Davies Nyeema Morgan Margaret Morton B.F.A., The Cooper Union; M.F.A., Warren Corbitt B.S., University of Sydney (Australia) Director, Off-Campus Programs California College of the Arts B.A., Vassar College; PhD., Macquarie University (Australia) Joyce Bishop, Coordinator, M.F.A., Cranbrook Academy of Art Luther Davis Sophie Naess Office of Academic Advisement B.F.A., Grinnell College; M.F.A., Ohio B.F.A., The Cooper Union Cara DiEdwardo M.F.A., Rutgers University B.F.A., The Cooper Union State University Full-Time Faculty Jenny Perlin Stephen Ellis Trenton Duerksen B.F.A., The Cooper Union B.A., Brown University; M.F.A., School Professors B.F.A., Cornell University; of the Art Institute of Chicago; Whitney New York Studio School Hannes Famira Independent Study Program Dennis Adams (Sabbatical Fall 2015) Glenn Goldberg B.A., KABK, Royal Academy of Fine B.F.A., Drake University; Arts, The Hague (Netherlands) Freya Powell M.F.A., Tyler School of Art New York Studio School; B.A., Bard College; M.F.A., Hunter M.F.A., Queens College, CUNY Adriana Farmiga College of CUNY Margaret Morton Beverly Joel B.F.A., The Cooper Union B.F.A., Kent State University; M.F.A., Bard College Halsey Rodman M.F.A., Yale University B.F.A., The Cooper Union B.A., Univeristy of California Santa Leon Finley Barbara; M.F.A., Columbia University Christine Osinski Mindy Lang B.F.A., The Cooper Union B.F.A., The Cooper Union; B.F.A., School of the Art Institute M.F.A., Yale University Roy Rub of Chicago; Lisa Lawley B.F.A., The Cooper Union M.F.A., Yale University B.F.A., The Cooper Union; Ryan Garrett B.F.A., The Cooper Union; M.F.A., Judith Shea M.F.A., Yale University B.F.A., Parsons School of Design Associate Professors University of Southern California; Pamela Lins Whitney Independent Study Program Patricia Treib Robert Bordo (Sabbatical Fall 2015) M.F.A., Hunter College, CUNY B.F.A., The School of the Art Institute McGill University; Agnieszka Gasparska of Chicago; M.F.A., Columbia University New York Studio School Jeremy Mores McWreath B.F.A., The Cooper Union B.F.A., The Cooper Union; Skowhegan School of Painting and Mike Essl M.F.A., University of Southern Curran Hatleburg Sculpture B.F.A., The Cooper Union; B.F.A., University of Colorado California John Vondracek M.F.A., Cranbrook Academy of Art M.F.A., Yale University Yuri Masnyj B.F.A., The Cooper Union Day Gleeson B.F.A., The Cooper Union Carla Herrera-Prats B.F.A., Rhode Island School of Design Scott Nobles B.F.A., National Center Walid Raad B.F.A., The Cooper Union; of the Arts (Mexico) Rochester Institute of Technology; M.F.A., Hunter College (CUNY) M.F.A., California Institute of the Arts M.A., Ph.D., University of Rochester Whitney Independent Study Program Zach Poff B.A., University of Maryland Iman Issa B.F.A., American University Jennifer Todd Reeves in Cairo (Egypt) B.A., Bard College; M.F.A., Columbia University M.F.A., University of California, San Diego Steffani Jemison B.S., Columbia University; M.F.A., School of the Art Institute of Chicago THE SCHOOL OF ART 2015–16 COURSE CATALOG 67

Visiting Artists (Fall 2015) Staff Lab Supervisor, Film/Video Yves Laris Cohen Zeljka Gita Blaksic Joseph Riley B.S., Universiy of California, Berkeley Technical Assistant, Film/Video Technical Assistant, Type Shop M.F.A., Columbia University Amy Buckley Garret Rosenblum Amy Feldman Technical Assistant, Photography Technical Assistant, Film /Video B.F.A., Rhode Island School of Design Dax Sommerfield M.F.A., Rutgers University Ian Burnley Painting Office Coordinator, Technical Assistant, Mark Gibson Painting/Drawing Art & Architecture Shop B.F.A., The Cooper Union; Michael Stickrod M.F.A., Yale University Lea Cetera Technical Assistant, Technical Assistant, Dana Hoey Art and Architecture Shop Art & Architecture Shop B.A., Wesleyan University Maggie Sullivan M.F.A., Yale University Lorenzo Clayton Technical Assistant, Printmaking Night Monitor, Painting/Drawing Alex Kwartler Colin Todd B.F.A., The Cooper Union David Derish Technical Assistant, Painting/Drawing Technical Assistant, Photography Lucy Raven Pablo Diaz Ryan Toth B.F.A., University of Arizona Night Monitor, Painting/Drawing M.F.A., Bard College Technical Assistant, Type Shop Andrew Wilhelm Cheney Thompson Cara DiEdwardo Technical Assistant, Printmaking Technical Assistant, B.F.A., School of the Museum of Fine Art & Architecture Shop Arts (Boston) and Head Technician, Type Shop Andrew Fillmore Jennifer Williams Technical Assistant, Photography Co-Head Technician, Photography Saredt Franco Bryan Zimmerman Technical Assistant, Printmaking Co-Head Technician, Photography Amanda Friedman The Herb Lubalin Study Center Technical Assistant, Painting/Drawing of Design and Typography Pedro Gonzalez Technical Assistant, Film/Video Alexander Tochilovsky Curator Vanesa Gully Technical Assistant, Painting/Drawing Laura Mircik-Sellers Archive Coordinator Anna Hostvedt Senior Coordinator, Painting/Drawing The Saturday/Outreach Program Haisi Hu Technical Assistant, Film/Video Marina Gutierrez Co-Director James Kendi Technical Assistant, Photography Stephanie Hightower Co-Director Frank Kurtzke Co-Head Technician, Karma Mayet Johnson Art & Architecture Shop Saturday Program Writing Liaison Heidi Lau Charles Fambro Technical Assistant, Printmaking Saturday Program Curriculum Coordinator Kevin Leonard Co-Head Technician, Pablo Diaz Art & Architecture Shop Outreach Program Manager Ross McLaren Aisha Tandiwe Bell Technical Assistant, Film/Video Saturday Program General Coordinator Eric Monasterio Mary Valverde Technical Assistant, Saturday Program Office Manager Art & Architecture Shop Alex Musto Technical Assistant, Film/Video Scott Nobles Digital Specialist Print Technician, Printmaking Zach Poff Technical Assistant, Film/Video Daniel Porvin