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Course Criteria
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3.00 Credits
Since its inception, photography has been globally disseminated but locally inflected, serving myriad documentary and expressive purposes in diverse visual cultures. This is nowhere more true than in the Middle East, where the powers and pleasures of the medium have been valued by colonial forces, indigenous populations, photojournalists and artists. The resulting images manifest, extend and contest complex traditions of representation that vary from place to place, Constantinople, the Holy Land, Egypt, and Persia each sustaining different tropes and modes of production. We will proceed accordingly, concentrating on individual photographers and centers of image-making, operating across the spectrum of visuality from creation to reception. Along the way, we will address the burdens and risks of image-making: What work do photographs do and how do they perform this labor? Who resists and who benefits? Students will track photography in/of particular locales over time to appreciate diverse renderings of the Middle East as aspects of global visual culture.
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3.00 Credits
Students may petition to take a private tutorial by arrangement with the instructor and with permission of the Graduate Program Director.
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3.00 Credits
Students may petition to take a private tutorial by arrangement with the instructor and with permission of the Graduate Program Director.
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3.00 Credits
Undergraduate Lecture Course Taken for Graduate Credit
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3.00 Credits
Undergraduate Lecture Course Taken for Graduate Credit
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3.00 Credits
Drawing extends your observational skills and, when combined with your intuitive and intellectual qualities, offers you an excellent means of communicating how, what, when and where you engage your experiences. As in any language, the descriptions of those observations begin with basic details and, with extensive practice, become more articulate. This requires of you the ability to focus, to frequently repeat the mundane in order to achieve the eloquent and to put aside judgment in favor of developing a self-critical awareness. The course features basic skill sets that rely on close scrutiny of our primary subjects: still life and landscape. The materials used will permit you to better understand their manipulation in describing form, shape, light and texture composed in illusionistic and abstract space. As your work matures during the term, we will begin a more careful examination of the rich, complex and challenging relationships between form and content.
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3.00 Credits
This introductory video production course focuses on how contemporary artists engage their historical moment. We will look ways in which the moving image can be used to reckon with the force that historical events and conditions have on us as art makers, and the ways in which we might hope to have force on historical events. We will focus on U.S. makers and events in the present and recent past, with comparative attention to international and transnational work. The course will give special consideration to particular forms of artist-made film and video: the essay film, activist/grassroots/social media, and performance-based and narrative media that reflect on historical events and the ongoing present. We will look at work by Adam Curtis, Adele Horne, The Yes Men, Anna Deveare Smith, Patty Chang, Peter Watkins, Haskell Wexler, Adam McKee, Catherine Bigelow, and collectives including Asco, TVTV, ACT UP, and Occupy Wall Street. Readings will include work by Meg McLagen, Gregg Bordowitz, George Lipsitz, Kimberle Crenshaw and Gary Peller, Judith Butler, David Graeber, George Lipsitz, and others.
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3.00 Credits
The game is unique as the only broadly-successful interactive art form. Games communicate the experience of embodying a role by manipulating the player's own decisions, abstraction, and discrete planning. Those three elements are the essence of computation, which makes computer science theory integral to game design. Video games also co-opt programming and computer graphics as new tools for the modern artist. As a result, games are collaborative interdisciplinary constructs that use computation as a medium for creative expression. Students analyze and extend contemporary video and board games using the methodology of science and the language of the arts. They explore how computational concepts like recursion, state, and complexity apply to interactive experiences. They then synthesize new game elements using mathematics, programming and both digital and traditional art tools. Emphasis is on the theory of design in modern European board games. Topics covered include experiment design, gameplay balance, minimax, color theory, pathfinding, game theory, composition, and computability.
Prerequisite:
No programming or game experience is assumed
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3.00 Credits
This course is both an introductory and an intensive study of the art of costume design. The course focuses on the designer's process: script analysis, collaboration, research, color theory, basic design principles, rendering techniques, fabric research, organizational skills and presentation of designs.
Prerequisite:
Successful completion of any 200-level course in any of the fine or performing arts or permission of the instructor
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3.00 Credits
It is all about the edge. Montage is the seamless combination of photographs which begs the viewer to suspend disbelief and embrace the new composite reality. Collage also yields an alternate reality by combining multiple photographs but here the process unabashedly reveals itself. In this course, students will learn basic photographic techniques as well as use found photographs to make both collages and montages. These combinations will be made with razor blades and glue as well as in Photoshop.
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