spring 2o2o course catalog - tufts university · introduction to drawing studio intro to drawing...
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Spring 2O2OCOUrse
CataLOg
Spring 2O2OCOUrse
CataLOg
Table of CONTENTS:
Beginning PerformanceSpecial Topics: Politics, Perf, & Avant GardeSpecial Topics: Movement, Sound, and the SensesHumor and Performance3D FoundationsDigital Fabrication LabOpen StudioAdvanced Installation ProjectsBeginning FibersSpecial Topics: Future Techno ImaginariesDirected StudyDirected StudyBeginning CeramicsThe MultipleIntermediate SculptureCeramics: The Creative ProcessFabric into FormFood: The Social and Functional Politics of Service
T - 9-12 PM, 2-5 PM
R - 9-12 PM
W - 6-9 PM
W - 2-5 PM
M - 9-12 PM, 2-5 PM
F - 9-12 PM, 2-5 PM
T - 9-12 PM, 2-5 PM
W - 9-12 PM, 2-5 PM
R - 9-12 PM, 2-5 PM
W - 9-12 PM, 2-5 PM
T - 6-9 PM
W- 6-9 PM
R - 9-12 PM, 2-5 PM
R - 9-12 PM, 2-5 PM
T - 9-12 PM, 2-5 PM
M - 2-5 PM, 6-9 PM
T - 9-12 PM, 2-5 PM
W - 9-12 PM, 2-5 PM
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ScULptUre + Performance
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The BridgeIntroduction to Drawing Studio (Medford Campus)
Introduction to Drawing StudioIntro to Drawing IntensiveIntro Interdisciplin. DrawingInter Drw:Abstraction, ProcessThe Human Body: Inside and OutAdv. Proj: Drawing DialogueAdvanced Drawing: Making SenseDrawing Directed StudyIntermediate Figure Drawing: Real People
R - 9-12 PM, 2-5 PM
M - 9-12 PM
R - 6-9 PM
T - 9-12 PM, 2-5 PM
T - 9-12 PM, 2-5 PM
R - 9-12 PM, 2-5 PM
M - 9-12 PM
F 9-12 PM, 2-5 PM
W - 2-5 PM
T - 6-9 PM
W - 9-12 PM, 2-5 PM
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Drawing + PAinting
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Course Meeting Time Course Code & Name
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Introduction to Oil PaintingIntro to Water, Color & PaperBeginning Painting (Medford Campus)
Intermediate ProjectsIntermediate Studio SeminarAdv Paint: Picturing the AnthropoceneAdv Painting: Painting SpaceIntermediate Painting & TechnologyAblab: Intermediate AbstractionIntermediate Portrait PaintingPainting Directed Study
W - 9-12 PM, 2-5 PM
R - 9-12 PM, 2-5 PM
W - 9-12 PM
F - 9-12 PM
M - 9-12 PM, 2-5 PM
T - 2-5 PM, 6-9 PM
T - 2-5 PM, 6-9 PM
W - 9-12 PM, 2-5 PM
R - 2-5 PM, 6-9 PM
M - 9-12 PM, 2-5 PM
W - 6-9 PM
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Oral and Visual StorytellingSpecial Topics: Book Arts: Chapter 2Socially Engaged ArtSubversive Graphics: Socially Engaged WorkMedia Culture NowDirected StudyCodex in Context: SeminarCodex in Context: StudioPrint/Graphics SeminarIntensive Print + Paper WorkshMonoprintingPrint in ColorInter/Adv ScreenprintingEtching and IntaglioWoodcut/Relief PrintmakingDrawing/Prints: Prints/DrawingSpecial Topics: ZinesDirected Study: Print MediaMaking Paper, Making Books: Collecting as an Art-Making StrategyDirected Study: Paper
R - 10-1 PM, 2-5 PM
T - 10-1 PM
T - 9-12 PM, 2-5 PM
F -10-1PM, 2-5 PM
R - 9-12 PM, 2-5 PM
T, F - 12-2 PM
T - 9-12 PM
T - 2-5 PM
T - 2-5 PM
R - 9-12 PM, 2-5 PM
F - 9-12 PM, 2-5 PM
F - 9-12 PM, 2-5 PM
W - 9-12 PM
W - 9-12 PM, 2-5 PM
M - 10-1PM, 2-5 PM
T - 10-1PM, 2-5 PM
M - 10-1PM, 2-5 PM
W - 2-5 PM
W - 9-12 PM, 2-5 PM
R - 6-9 PM
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print,paper + graphic arts
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Table of CONTENTS:
Media Culture NowIntro to Digital PhotographyBlack, White, Gray: Adv. PhotoIntermediate PhotographySocially Engaged ArtScene & Space: Film & Photo (Medford Campus) Making a PictureMaking More of a PicturePortraiture & the Self (Medford Campus)
Special Topics : Image, Narrative, & PsychoanalysisSpecial Topics : Directed Study : Art & Social Justice Intensive Directed Study : PhotographyBasic LightingAnimation 3Intro To Moving ImageAnimation 1Animation IntegrationDrawing for AnimationDirected Study: Media ArtsSpecial Topics: Flm/Vid Essay: Between Poem & DocumentaryScene & Space: Film & Photo (Medford Campus)
Introduction to SoundHandmade Sounds & Tickling CircuitsVideo I (Medford Campus)
Video IVideo II
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media arts + PhOtOgraphy
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Course Meeting Time Course Code & Name
R - 9-12 PM, 2-5 PM
F - 9-12 PM,1-4 PM
R - 9-12 PM, 2-5 PM
M - 9-12 PM, 2-5 PM
T - 9-12 PM, 2-5 PM
W - 1:30-6:30 PM
R - 9-12 PM, 2-5 PM
F - 1-4 PM
R - 10 AM - 4 PM
W - 2-5, 6-9 PM
F - 9 AM - 1 PM
W - 12-2 PM
M - 9-12 PM, 2-5 PM
T - 9-12 PM, 2-5 PM
M - 9-12 PM, 2-5 PM
W - 9-12 PM, 2-5 PM
F - 9-12 PM, 2-5 PM
R - 9-12 PM, 2-5 PM
T - 6-9 PM
W - 2-5 PM
W - 1:30-6:30 PM
W - 9-12 PM,1-4 PM
R - 9-12 PM,1-4 PM
T - 1:30-6:30 PM
R - 9-12 PM, 2-5 PM
T - 9-12 PM, 2-5 PM
Intro to Visual and Material StudiesIntro to Contemporary SculptureSculpture In Site
F - 10-12:30 PM
T - 9-11:30 AM
R - 9-11:30 AM
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Table of CONTENTS:
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Hist & Aesthetics in HitchcockNeo-Noir and Its Contexts Picturing the Body PoliticFood as Sculpture since 1960 (Medford Campus)
English II : Section 1English II : Section 2English II : Section 3English II : Section 4Art Education with Special Populations
R - 1:30PM-4 PM
F - 1:30PM-4 PM
W - 2-4:30 PM
F - 10:30AM-1 PM
MW - 6-7:15 PM
MW - 7:30-8:45 PM
TR - 12:30-1:45 PM
TR - 6-7:15 PM
M - 5:30-8:30 PM
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Vms, English + EdUcation
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Grad Group CritiqueGrad Group CritiqueGrad Group CritiqueGrad individual CritiquesSenior Thesis ProgramUndergraduate InternshipGraduate Internship
W - 6-9 PM
T - 6-9 PM
T - 6-9 PM
M - 2-5 PM
F 9-12 PM, 2-5 PM
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SMFA
SMFA
SMFA
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drag performance became a backlash against police brutality; how pots and pans and soccer chants can topple a government; and why art schools have been the first thing fascists shut down, and why re-opening them is the first thing artists can do to overturn a dictatorship. Some touchstones surveyed in this course include Antigone and antifa, the Bauhaus and the Black Panthers, Gandhi and the Guerrilla Girls, puppet shows and punk rock. With these and many more examples to inspire us, we will make connections between art and activism to experiment with performance in class and beyond.
Our bodies hold a wealth of material that begs to be sourced for use in our creative and artis-tic lives. In this process-oriented class we shall access this deep material through movement and sound, and explore ways to activate each of the senses through a series of creative as-signments. Each week we will touch upon a variety of practices, ranging from yoga, somatic movement and contact improvisation, to the techniques employed in Butoh, devised com-position, and Theatre of the Oppressed. Over the semester, we will develop skills to better trust and experience our bodies as mediums for integrating our physical selves with our ar-tistic work, culminating in a final presentation to highlight what we have done. This course asks participants to commit to working as a group and attending all classes. All experiences are welcome.
Introduces students to the basic principles of using the body in time and space in relation to an audience in order to convey meaning. Students will gain a contextual understanding of the history of performance art through ba-sic readings and develop the vocabulary with which to discuss and critique performances.
Groundbreaking art movements arise at times of social upheaval at the fringes of dominant culture. These movements and their artists poke holes in the status quo and propose mod-els for a new humanity. Those in power have historically tried to silence artistic upstarts, but artists persist, and their legacies tend to outlast the regimes that sought their erasure. In this studio-and-seminar course, we will track the intertwining histories of more than a centu-ry of performance art and investigate how its impact still resonates today. Through the lens of performance we shall explore how ancient anti-heroes kickstarted the avant-garde; how schoolyard songs and cardboard giants have been the top targets of a country at war ; how
ScULPTUre +PERfoRmance
PERFORMANCE
PER 0102
BEGINNING PERFORMANCEDanielle Abrams
Tue 9-12, 2-5 PM
PER 0191
SPECIAL TOPICS:POLITICS, PERFORMANCE,
& THE AVANT GARDEMorgan Andrews
Thurs 9-12 PM
PER 0191
SPECIAL TOPICS:MOVEMENT, SOUND,
AND THE SENSESMorgan Andrews
Wed 6-9 PM
1
Examines the history of humor, its role in pop-ular culture and art, and its use as a means of social resistance through the lens of perfor-mance art. Explores stand-up comedy, laughter yoga, clowns, the carnival, pageants, parades, camp, kitsch, civil disobedience, pathos, and the psychiatric, spiritual, and philosophical in-terpretations of humor. Artists, writers, and subjects studied include Mikhail Bakhtin, Henri Bergson, Surrealists, Situationists, slapstick, the Chitlin’ Circuit, the Borscht Belt, the Yippies, re-ality TV, memes, and works by contemporary artists such as Shana Moulton, Yana Evans, Dy-nasty Handbag, Jeffrey Gibson, William Pope. L, Wafaa Bilal, and others. Class readings and dialogue create structures upon which to build new artworks. Students will create, study, and critique work that is influenced by humor as a formal and conceptual approach.
Orientation to the shops, studios, tools and materials necessary for designing, modeling and fabricating a full range of structures and objects. Introduction to a range of import-ant technical processes located in the various shops and sculpture facilities and to a variety of basic construction techniques including welding, woodworking, plaster mold-making, casting and digital fabrication. Non-SMFA stu-dents will receive a letter grade.
Explores the practice of “making” through hands-on studio culture, contemporary art and craft, and digital design theory. Develop proficiency in computer aided design (CAD) and explore modeling simple and complex ob-jects, surfaces, and spaces and learn to safely and effectively use laser cutters, 3D printers, and CNC milling machines. Through research, discussion, and practice, learn to think about and through these tools to develop a personal relationship with these technologies in order to integrate them into their practice. Non-SM-FA students and MAT Art Education students will receive a letter grade.
Advanced-level studio course which develops and expands students’ fabrication skills based on the needs of self-directed projects. Involves work in the various shops and studios, assisting peers on projects, participating in group cri-tiques and receiving individual feedback ses-sions with faculty. Faculty will work with stu-dents as needed on techniques and processes relevant to the ongoing development of their work. Non-SMFA students and MAT Art Edu-cation students will receive a letter grade.
PER 0106
HUMOR AND PERFORMANCEDanielle Abrams
Wed 2-5 PM
SCP 0031
3D FOUNDATIONSTimothy Manalo, Christy Georg
Mon 9-12, 2-5 PM
SCP 0103
DIGITAL FABRICATION LABFloor Van De Velde
Fri 9-12, 2-5 PM
SCULPTURE
2
SCP 0108
OPEN STUDIOMark Cooper, Tanya Crane
Tue 9-12, 2-5 PM
Multimedia studio course which uses the lens of techno-imaginaries like Afrofuturism and its tangents (latinx-, asian-, queer-, crip-, feminist-, etc.) to critically examine societal oppressions related to race, class, sexuality, disability, and gender through multimedia sculpture. Look-ing at artists, authors, and filmmakers such as Janelle Monae (Cindi Mayweather), Chitra Ganesh, Ryan Coogler (Black Panther), Cather-ine S. Ramírez, Octavia Butler, and Guadalupe Maravilla, the course considers how sci-fi can be used as a creative tool for liberation. Stu-dents will be encouraged to employ various media, materials, and art-making processes as they create techno-imaginaries of their own, exploring social transformationthrough sculpture.
Individual meetings with faculty member to critique work, assess progress, and develop mentorship between faculty and student. Con-sists of four or more individual meetings per semester in addition to group meetings to dis-cuss work and progress. Directed Study is for advanced students (MFA, Post-Baccalaureate, Diploma or Third and Fourth year BFA Stu-dents). Faculty permission required.
SCP 0140
BEGINNING FIBERSSamantha Fields
Thurs 9-12, 2-5 PM
SCP 0191
SPECIAL TOPICS:FUTURE TECHNO
IMAGINARIESBetsy Grace Redelman Diaz
Wed 9-12, 2-5 PM
SCP 0193
DIRECTED STUDYTanya Crane
Tues 6-9 PM
3
This is an advanced-level studio course where we will engage in explorations of space, site, lo-cation, situation, immersive experience, viewer relations and exhibition design. We will look at all the various permutations of installation art, including video, sound, performance, virtu-al reality and the digital realm, social exchange, collaboration, interactivity and the blurred boundaries between media. This course is de-signed for students who are already engaged in the development of installation-based work and follows a proposal and exhibition-driven model. Installation II addresses the execution and presentation phase of large-scale project development. This course consists of the plan-ning and development of an outside group exhibition, self-directed studio work, critiques, discussions, demonstrations, field trips and in-troduction to the work of contemporary art-ists in the field. Non-SMFA students and MAT Art Education students will receive a letter grade.
Learn a different fiber-related technique each week, including: knitting, crocheting, dying, weaving, flexible structures, felting and sewing by hand and machine. Explore the history of these processes and their uses in contem-porary art and gain a basic understanding of each technique by focusing on their sculptural capabilities. Non-SMFA students and MAT Art Education students will receive a letter grade.
SCP 0115
ADVANCED INSTALLATION PROJECTS
Megan McMillan, Floor Van De Velde
Wed 9-12, 2-5PM
This is an intermediate/advanced course that is self-designed and non-media specific. Although my specialty is ceramics this course makes use of my skill sets that include sculptural materi-als including metal, wood, glass and clay with an emphasis on combining materials. I am also comfortable with time based, digital and performance arts including photo, video, and sound. All student projects will require individ-ual goal outlines, research and individual crits.
An introduction to sculptural, painterly, and functional approaches to ceramics. Explores techniques in wheel-throwing and construc-tion for hand-building and examines the basic use of fire, glazes at low and high tempera-tures, and raku. No prerequisites. Non-SMFA students and MAT Art Education students will receive a letter grade.
This studio course examines the historical and applied context of variety of examples of mul-tiples and small series edition in all kinds of material and types of production. Prerequisites for this course are Casting and Mold Making or equivalent. Non-SMFA students and MAT Art Education students will receive a letter grade.Intermediate sculpture studio course involving various materials and methods of making. Proj-ects in woodworking, welded steel sculpture and casting, as well as mixed media. Focused on the development of technical and analyt-
ical skills as related to the interplay of form, content, materials and space. Structured on a series of projects that investigate formal and conceptual practices, with the ultimate goal being visual fluency, elevated skill-sets, and the successful expression of ideas while cultivat-ing the intellectual exploration requisite to sustaining a studio practice. Prerequisite: 3D Foundations, Beginning Sculpture or equivalent.
Intermediate sculpture studio course involving various materials and methods of making. Proj-ects in woodworking, welded steel sculpture and casting, as well as mixed media. Focused on the development of technical and analyt-ical skills as related to the interplay of form, content, materials and space. Structured on a series of projects that investigate formal and conceptual practices, with the ultimate goal being visual fluency, elevated skill-sets, and the successful expression of ideas while cultivat-ing the intellectual exploration requisite to sustaining a studio practice. Prerequisite: 3D Foundations, Beginning Sculpture or equivalent.
Introductory seminar and studio course which investigates the subject of creativity and the creative process from different disciplines. Dis-cussions from a variety of writers and artists create a conceptual framework in addition to practicing the methodologies of creativity through listing and mapping, exercises, tech-nical instruction, parallel making, experimen-
SCP 0172
DIRECTED STUDYMichael Barsanti
Wed 6-9 PM
SCP 0102
BEGINNING CERAMICSMichael Barsanti
Thurs 9-12, 2-5 PM
SCP 0117
THE MULTIPLEKendall Reiss
Thurs 9-12, 2-5 PM
SCP 0143
INTERMEDIATE SCULPTUREChristy Georg
Tues 9-12, 2-5 PM
4
SCP 0138
CERAMICS: THE CREATIVE PROCESS
Betsy Redelman Diaz
Mon 2-5, 6-9 PM
Drawing +Painting
D R A W I N G
DRW 0002
THE BRIDGECharles Goss
Thurs 9-12, 2-5 PM
The Bridge will access your personal sourc-es and suggest pathways and strategies to connect and clarify your relationship with in-dividual studio practice and contemporary ideas. We begin with drawing as a descriptive, intuitive, and expressive tool for exploration and research. Then we expand to mixed-me-dia, actions, objects, installation and the digital toolbox. The focus is on trusting your intuitive process along with planning and executing work with developed ideas and direction. We will conduct in-class projects with discussions, work out of class and and design a final proj-ect. We will study other artists and learn how they express and visualize their unique ideas. There will be one field trip to the galleries and museums and meet one visiting artist.This course is strongly recommended for students new to the SMFA, First Year Program students, and continuing students who would like a jump-start to their work.
DRW 0013
INTRODUCTION TO DRAWING STUDIO
(MEDFORD CAMPUS)Ethan Murrow
Mon 9-12 PM
Drawing Studio is an introductory drawing course focusing on the development of skills and techniques. Fundamental approaches to observational drawing will be presented as students explore what it means to draw; these techniques include line, mark making, perspec-
5
tation and approaching clay from a place of inquiry and inspiration.
Introduction to sculptural construction with fabric focused on its three-dimensional capa-bilities. Through class demonstrations, exercis-es, and the development of individual projects, explore the potential of fabric to create sculp-ture. Techniques covered include fabric ma-nipulation through machine and hand sewing, gluing, stiffening, stuffing, pattern drafting and armature construction, in addition to research-ing fabric histories, and contemporary mean-ings as well as past and present artists working in this media.
Exploring the intersection of food, politics, consumers and culture, this course consists of research and the creation of functional and non-functional objects for the table. Investigate the cultural connections of food and commu-nity while learning the history of service-ware, place settings, cutlery, table vessels and their surrounding rituals, practices and contexts. Non-SMFA students and MAT Art Education students will receive a letter grade.
SCP 0142
FABRIC INTO FORMSamantha Fields
Tues 9-12, 2-5 PM
SCP 0144
FOOD: THE SOCIAL AND FUNCTIONAL POLITICS
OF SERVICEMichael Barsanti, Tanya Crane
Wed 9-12, 2-5 PM
DRW 0013
INTRODUCTION TO DRAWING STUDIO
Eva Lundsager
Thurs 6-9 PM
DRW 0018
INTRO TO DRAWING INTENSIVEEthan Murrow
Tues 9-12, 2-5 PM
tive, tonal value, composition, point of view, proportion, and measurement. Strong compo-sition, clear communication and exciting design will be emphasized through a combination of focused exercises, projects, demonstrations, critiques, and individual instruction. This course teaches its students the fundamentals of draw-ing allowing students to create connections across the curriculum. Drawing Studio is ide-al for students new to drawing and for those interested in improving their artistic practice. Students will be required to purchase materials.
Drawing Studio is an introductory drawing course focusing on the development of skills and techniques. Fundamental approaches to observational drawing will be presented as students explore what it means to draw; these techniques include line, mark making, perspec-tive, tonal value, composition, point of view, proportion, and measurement. Strong compo-sition, clear communication and exciting design will be emphasized through a combination of focused exercises, projects, demonstrations, critiques, and individual instruction. This course teaches its students the fundamentals of draw-ing allowing students to create connections across the curriculum. Drawing Studio is ide-al for students new to drawing and for those interested in improving their artistic practice. Students will be required to purchase materials.
Comprehensive introduction to drawing tech-niques and materials for first year students or students new to college-level art making who
DRW 0028
INTRO TO INTERDISCIPLINARY DRAWING
David Antonio Cruz
Tues 9-12, 2-5 PM
DRW 0065
INTERMEDIATE DRAWING:ABSTRACTION, PROCESS
Nan Freeman
Thurs 9-12, 2-5 PM
are specifically interested in drawing, painting, and print media. Strong technical drawing skills as well as personal development of expression will be covered. Coursework will include in-class demonstrations, presentations, exercises and assignments. Students will be required to purchase materials. Non-SMFA students will receive a letter grade.
Preparation for students interested in pursu-ing interdisciplinary practice and is designed to focus on the use of drawing as a bridge to other media such as sculpture, video, perfor-mance, and research. While remaining based in essential drawing tools, this course explores experimental processes and includes the use of digital technology in planning and concept development as well as the ability to address the multi-area development of laser and 3-D printers. Coursework will include in-class demonstrations, presentations, exercises and assignments. Homework will be assigned. Stu-dents will be required to purchase materials.
This intermediate course explores abstrac-tion, process, and formulation. Drawing as a process and product has the ability to com-municate a wide variety of observations via traces of mental processing. Drawn images, on their own or supported by verbal and visual research, have the capacity to present ideas in a way that allows for broader concepts to be read at a glance and/ or in depth. Through the development of a personal visual vocabulary form the general to the specific this course will encourage students to investigate and develop
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ing independent projects in drawing. The re-lation of content, strategies, and contexts will be explored, shared, and emphasized. Course-work will include in-class work on indepen-dent projects, group and individual critique and class discussions. Homework will be assigned.
This intermediate drawing class is designed for students to develop images or pieces from senses other than the visual – specifically sound, smell, touch, and taste. Through week-ly exercises students will be given the chance to create drawings, paintings, collages, and more. We will have weekly studio projects and homework investigating how to translate these physical and emotional reactions and respons-es in finished pieces. Intensive group critiques will emphasize how “drawing from the inside out” can function as a tool in the process of developing ideas in any and all artistic disci-plines. This course is experimental and flexible. Intro Drawing classes or relevant experience recommended.
This class consists of one on one meetings in which a student will meet individually with a faculty member several times over the course of the semester to critique work, assess prog-ress, and develop mentorship between indi-vidual faculty and students. Individual critique sessions promote and foster abundant work and rapid progress by helping students deepen their understanding of their artwork, creative process, and work method through focused critical feedback at regular intervals. The stu-dent is asked to present a statement of intent, quantifying expected output, topics of interest or a statement of goals at the first meeting.
DRW 0162
ADVANCED DRAWING: MAKING SENSE
Charles Goss
Wed 2-5 PM
DRW 0193
DRAWING DIRECTED STUDYEthan Murrow
Tues 6-9 PM
7
DRW 0069
THE HUMAN BODY: INSIDE AND OUT
Mara Metcalf
Mon 9-12 PM
DRW 0132
ADV. PROJECTS: DRAWING DIALOGUE
Charles Goss
Fri 9-12, 2-5 PM
the visual formulation of ideas in a multitude of drawn forms. Development of Individual imagery and concepts through experimenta-tion with varying methods of making, materials, and modes of presentation (performance) is essential. Class discussion surrounding work and concepts will take place on a regular basis. Work will be done in and out of the shared studio environment. Computers, scanners, dig-ital cameras and a variety of printers will be available for sourcing and output, but are not required. This course will require individual out of classroom work and commitment to developing ideas.
Contemporary application of traditional meth-ods for representing the body. Musculature and skeleton covered as a way to build a deep understanding of the mechanics beneath the body surfaces. Longer pose time will give stu-dents the opportunity to develop the drawing in stages and apply anatomical knowledge to make drawings with a concern for the content and form. Observational techniques will be covered: sighting, rendering, specifics of pro-portion, structure of volumes and composition. Attention to light, movement and the resultant formal changes will allow you to fully extract the visual dynamics of body. Throughout the course students are encouraged to combine visual accuracy and conceptual expression in their work. Lectures and readings on contem-porary figurative artists working in a range of media will add to your visual understanding of the body inside and out. Recommended: Two college level courses in drawing. Non-SMFA students will receive a letter grade.
This course is for advanced students develop-
fundamentals of oil painting: color, shape, tone, edge, composition, perspective, and substance. While the primary focus of this course will be the depiction of objects in an observational mode, course will reflect an awareness of the fact that we all see and interpret our visual environments somewhat differently. Examina-tion of many kinds of precedents- by artists from historical to modern to contemporary. Gives students the grounding necessary to take more advanced painting courses. Includes demonstrations of materials and techniques, slide presentations, assignments, work peri-ods, group and individual critiques. Majority of course time will be spent in a studio/work mode. Recommended: A life drawing class or its equivalent in high school or at SMFA before, or concurrent with PAI 003. Non-SMFA stu-dents will receive a letter grade.
This introductory painting class explores new and traditional approaches to image making, materials, and painting by thinking through watercolor, inks, and other water-based paint-ing materials. Beginning with the basic skills of water, color, and paper, students will develop and focus expressive and conceptual vision and intuitive working methods leading to in-dependent work in a self-chosen direction. Examination of a wide range of techniques, im-age development, color, and light will be includ-ed. Students will work from observation, the imagination, and other sources. Slide lectures, suggested readings, critiques, and field trips to museums are a part of the class. Non-SMFA students will receive a letter grade.
Although this is listed as a beginning course,
At the end of the semester s/he will summa-rize the work; this could also be in the form of developing an artist’s statement. Faculty will meet each student four or more times a se-mester for a full hour. There may also be group meetings with peers to discuss work and progress among fellow students. Group meet-ings will assist students in developing invalu-able skills for responding and giving feedback to one another regarding the work of fellow students. Students can only take the same Directed Study course twice. Directed Study is for upper classmen and advanced students (MFA, Post-Baccalaureate, Diploma or Third and Fourth year BFA Students). Students are limited to a maximum of two Directed Studies in one semester which cannot be in the same area. Faculty permission required.
This drawing course will emphasize portraying the individual in context rather than depicting an archetypal “nude” model. We communicate so much through our body, clothing, posture and environments. As image makers, this invites narrative and personal direction. Students will use wet and dry color media such as Pastel, Ink and Gouache. These materials encourage connections between painting and drawing. Readings will focus on issues of representation and collective history. Viewing contemporary artworks will highlight the larger context and complexity of figuration today. This course is for students who have taken introductory fig-ure drawing or painting classes.
Introduces practical information about the
PAINTINGPAI 0003
INTRODUCTION TO OIL PAINTING
Angelina Gualdoni
Wed 9-12, 2-5 PM
PAI 0010
INTRO TO WATER, COLOR & PAPER
Eva Lundsager
Thurs 9-12, 2-5 PM
PAI 0021
BEGINNING PAINTING(MEDFORD CAMPUS)
David Antonio Cruz
Wed 9-12 PM
DRW 0123
INTERMEDIATE FIGURE DRAWING: REAL PEOPLE
Mara Metcalf
Wed 9-12, 2-5 PM
8
Bridge between project based basic courses and the independent work of Senior Thesis. Helps students develop a strong and commit-ted studio based practice where they experi-ence the challenges and rewards of sustaining a body of work from inception to exhibition. Each student will be provided with studio space to support their developing practice, and it is essential that applicants are self-mo-tivated and willing to spend substantial time working out of class each week. Applicants to this course must be in their second or third year, and enrolled at least half time studio at SMFA throughout both Fall and Spring se-mesters. Prerequisites include: at least one 1000 PAI level course, and one 2000 PAI level course, or demonstrated equivalent through portfolio and statement. The expectation of in class and out of class work totals 15 hours a week. Applications will be reviewed by the Painting Area as a whole. Approval is required to register for this class.
This studio/seminar course is designed to dis-cuss social responsibility and ecological sus-tainability related to artistic practice. We will explore how systematic inequality and envi-ronmental degradation are intertwined, how artists contributed to these systems and how they have resisted them. We will begin by ex-amining the artist’s historic role in picturing the natural environment, and their continued influ-ence on the way society views our surround-ings and ourselves. Concurrently with these discussions, we will devise practical strategies for dealing with ethics and activism in relation to studio projects and creative work. This ad-
PAI 0120
ADV PAINTING: PICTURING THE ANTHROPOCENE
Patte Loper
Tue 2-5, 6-9 PM
9
any students interested in studying painting through direct observation are welcome. Lec-tures and demonstrations provide practical information on a variety of materials and tech-niques; preparing canvases and panels, paint-ing with oils using traditional underpainting and glazing, oil mediums, varnishes, fresco, egg tempera, and acrylics. Using a variety of still-life material students will work on sequential drawing and painting exercises designed to in-troduce the fundamentals of painting including basic perspective, color, and composition. The beginning of the semester emphasizes group projects; toward the end of the semester, with more familiarity with the painting process, stu-dents will set up and paint from their own still-lifes or pursue work based on personal imag-ery. Attendance required.
Moving from beginning courses (where work is made in response to assignments) to de-veloping a body of work with personal vision and expression is an important step in devel-oping as a student and artist. This one-period course prepares students to move into the intermediate and advanced levels of instruc-tion where personal commitment, vision, and curiosity are driving the work. Slide lectures, readings, discussions, group and individual critiques help students identify subjects they care passionately about and want to explore through paint and related media. Class time is divided between these activities with empha-sis on developing a strong working community through critique. Students should be prepared to spend a good deal of time working indi-vidually outside of class. Though this course is offered in the Painting Area, it is open to stu-dents wishing to work in other media as well.
PAI 0050
INTERMEDIATE PROJECTSEva Lundsager
Fri 9-12 PM
PAI 0075
INTERMEDIATE STUDIO SEMINAR
David Antonio Cruz
Mon 9-12, 2-5 PM
Developing a personally meaningful approach to abstraction in painting. Work in several modes: abstraction as a translation of what is seen, abstraction as evidence of the unseen, and abstraction as a language. Contemporary and historical works will serve as a springboard to help students formulate their own abstract painting vocabulary. Material demonstrations, slide lectures, readings and critiques to supple-ment working-in-class time. Recommended: An introductory level painting course, begin-ning oil painting, or the equivalent.
Contemporary portraiture offers a platform for exploration of subject, (the persons pic-tured) and subjectivity (the feeling, read, or take of the painter). Situating portraiture with-in a broader contemporary context, examining the role of identity, gender, race, nationality, and class of those depicted and depicting people in paintings. Develop rendering skills to depict the human head and figure, caricature and ex-pression, and the ability to elaborate, expand, and fictionalize sitters. Recommended: An introductory level painting course, beginning oil painting, or the equivalent. Non-SMFA students and MAT Art Education students will receive a letter grade.
Student meets individually with a faculty mem-ber several times over the course of the se-
PAI 0172
INTERMEDIATE PORTRAIT PAINTING: SUBJECT AND SUBJECTIVITY
Ria Brodell
Mon 9-12, 2-5 PM
PAI 0155
ABLAB: INTERMEDIATE ABSTRACTION
Karmimadeebora McMillan
Thurs 2-5, 6-9 PM
PAI 0193
PAINTING DIRECTED STUDYAngelina Gualdoni
Wed 6-9 PM
vanced class is designed for graduate students and those in their 3rd or 4th year of the BFA. Others should inquire with the instructor prior to registration.
Studio class for advanced painters which pro-vides students with a space to advance their understanding of independent projects and the relevant methods, contexts and concepts. Emphasis on the development of a cohesive creative project. Focus on studio time, critical dialogue, and reflection on strategies for con-ceiving, researching, experimenting, building, concluding, exhibiting and defending creative endeavors. Broad interpretation taken of what a painting can be. Experimental approaches and crossover between media fully supported. Students should have taken at least 2 Painting, Drawing or Printmaking courses prior to enrollment.
This course is designed to introduce students to technology as a way to generate source material for painting, as well as strategies for combining painting with new media. We will explore the historical relationship between painting and technology as well as examine contemporary technology-based painting practices. Instruction will help students gain new skills in digital imaging, animation, and video editing. We will examine ideological and formal rationales for using various technolo-gies and further help students explore the complex relationships between content and process. Students will leave this class with an understanding of the potential of the tools at their disposal.
PAI 0151
INTERMEDIATE PAINTING & TECHNOLOGY
Patte Loper
Wed 9-12, 2-5
PAI 0130
ADV PAINTING: PAINTING SPACE
Angelina Gualdoni
Tue 2-5, 6-9 PM
10
mester to critique work, assess progress, and develop mentorship between individual fac-ulty and students. Individual critique sessions promote and foster abundant work and rapid progress by helping students deepen their un-derstanding of their artwork, creative process, and work method through focused critical feedback at regular intervals. The student is asked to present a statement of intent, quan-tifying expected output, topics of interest or a statement of goals at the first meeting. At the end of the semester s/he will summarize the work; this could also be in the form of devel-oping an artist’s statement. Faculty will meet each student four or more times a semester for a full hour. There may also be group meet-ings with peers to discuss work and progress among fellow students. Group meetings will assist students in developing invaluable skills for responding and giving feedback to one an-other regarding the work of fellow students. Can be repeated once. Recommended: ju-nior, senior, post-bac, or graduate standing. Re-quired: Faculty permission required. Non-SM-FA students and MAT Art Education students will receive a letter grade.
Learn how to compose penetrating questions, become an active listener, conduct relevant re-search, digitally record interviews and translate your new knowledge into a communicative creation. Work could result in a web site, book, performance, film, installation, series of canvas-es, or sound environment. Course will cover type design, image transfers, and bookbinding as needed. Relevant films, books, visiting artists, essays and field trips will enrich this course. Levels: Open to all levels. Non-SMFA students and MAT Art Education students will receive a letter grade.
In this hands on, experimental class, students will continue their exploration of the function, materials and form of books as well as expand their vision of image and object making in the context the book. Students will investigate paper, the visual power of a fold, a crease, a tear and work paper into 3-dimensional forms from platonic solids through origami, pop ups and tessellation. Paper conservation tech-niques will also be explored including washing, mending, and lining paper with fabric. We will work with extremes of scale and each student will identify a project to pursue for the entire semester. Level: Recommended for students who have taken any beginning book arts course.
(Cross-listed as GRA 104) For intermediate and advanced artists who want to use their imagination in the interest of social justice. Explores the prolific and exciting overlap be-tween socially engaged art and cultural prac-tices generated by recent social movements locally and globally. Provide knowledge about the history of this practice, technical support, assist with research, review artist projects, ad-dress recent strategies and examine the shift of socially engaged artists from “studio to sit-uation” or “participant.” Multiple visiting art-ists will teach strategies of engagement, class will collaborate with local artists to advance hands-on experiences. Individual artists and collectives such as Laurie Jo Reynolds, Faheem Majeed, PRESS PRESS, NulawLab, Design Stu-dio for Social Intervention, etc. Open to stu-dents of all disciplines, with a basic knowledge of contemporary art history and Adobe soft-ware as well as an interest in art and social/po-litical action. Level: Open to all levels. Non-SM-
GRA 0091
SPECIAL TOPICS:BOOK ARTS: CHAPTER 2
Anne Pelikan
Tue 10-1 PM
GRA 0103
SOCIALLY ENGAGED ARTNeda Moridpour
Tue 9-12, 2-5 PM
11
Print, Paper & Graphic Arts
GRA 0060
ORAL AND VISUALSTORYTELLING
Laura Blacklow
Thurs 10-1, 2-5 PM
GRAPHIC ARTS
FA students and MAT Art Education students will receive a letter grade.
In this seminar/studio class we will discuss the complexity of socially engaged art prac-tices, and specifically look at graphics, printed ephemera, books and web based interventions used to activate a public. Looking at the re-cent history of various art movements, from feminist, to activist, including public art and social practice we will look at several artists work such as The Yes Men, Group Material, Future Farmers, Grennan & Sperandio, Gran Fury, Temporary Services… The studio com-ponent of the class will help students develop several collaborative works with a community and specific site. Class discussions will include information on public safety, and legal rights. Students are expected to be familiar with print and web publishing tools as there won’t be specific demos in the class. Instead we will create a community to share skills and techni-cal knowledge.
An understanding of how mass media func-tions is necessary in order to enact meaningful social change. The media representation of a drowned Syrian boy and refugees; the Black Lives Matter activists; The US military recruiting from gaming industries for Iraq and Gulf Wars; The previous US presidential elections; reality TV, etc. These images shape both our public policy and private lives. Additionally, between TV, radio, newspapers, magazines, internet, mo-bile phones, billboards and LED displays, we see between 250 to 3000 ads per day. These are just a few stories that indicate how text has expanded from the merely literary to all
forms of cultural production, and how mass media has come to be a powerful means of expressing culture, which ‘frames’ our everyday life. Through readings, presentations, group dis-cussions and studio work we will look critically at the media culture. We will examine texts from Shanti Kumar, Erving Goffman, Jackson Katz, John Berger, Naomi Klein, Jean Kilbourne, Guy Debord, Adbusters, The Onion, fashion magazines, and activist art. These readings will create the structure for studio work as well as challenging commercial methods by producing work about our vernacular culture.
This period is dedicated to one-on-one meetings between students and the faculty member over the course of the semester to critique work, assess progress and develop a mentorship relationship. The student will be asked to present a concept for a project at the beginning of the semester, or brainstorm with the faculty member on what the possi-bilities are. Students will meet 4-5 times over the course of the semester and are expected to show progress each meeting. Open to stu-dents working in every discipline, especially on projects that involve text, type, graphics, pho-tography, printing and publishing. Non-SMFA students and MAT Art Education students will receive a letter grade.
This seminar is for advanced undergraduates, post-bac, and grad students who are ready to work on a long-term project that uses text and imagery in the form of a publication. Each meeting will focus on a different structural theme to help us analyze contemporary artists’ books from the vast collection in the SMFA
GRA 0119
MEDIA CULTURE NOWNeda Moridpour
Thurs 9-12, 2-5 PM
GRA 0108
SUBVERSIVE GRAPHICS: SOCIALLY ENGAGED WORK
Chantal Zakari
Fri 10-1, 2-5 PM
12
GRA 0193
DIRECTED STUDYChantal Zakari
Thurs, Fri 12-2 PM
GRA 0109
CODEX IN CONTEXT: SEMINARChantal Zakari
Tue 9-12 PM
The focus of this class is in part historical, an investigation of the broad array of print media, from early incunabula through the flourishing of commercial printing in the 19th century and the development of photography, to contem-porary digital media. Central to this study is consideration of how the various media frame and inform the content of the work. The course will operate around a series of field trips and visits to the great local collections of prints, drawings and photographs here in Boston and Cambridge -- the MFA, the Bos-ton Public Library, The Boston Athenaeum, Harvard’s Houghton Library and the Fogg/Busch-Reisinger Museum – as well as conser-vation labs and other related venues. In addi-tion to viewing and discussing selected work at these collections (related readings will be as-signed), students will do independent research at these collections for presentation to the class. While work selected will focus on prints, drawings, photographs and graphic arts, previ-ous SMFA studio experience in these media is not required. There will be a limited number of studio technical demonstrations and work-shops. This seminar is intended for advanced level students.
In this class, we will focus on integrating hand-made paper with the printed image. We will look at a number of contemporary artists who are using repetition of material and im-agery in their work including Kwang-Young Chun, Do-Ho Suh, Polly Apfelbaum, Ai Weiwei, Chuck Close, Mark Bradford, Allan McCul-
PRT 0110
INTENSIVE PRINT + PAPER WORKSHOP
Peter Scott, Michelle Samour
Thurs 9-12, 2-5 PM
13
library. The last 3 weeks will be dedicated to critiques of student work and the production of a podcast. Students are advised to take this class in conjunction with the afternoon studio to produce their own artist’s book.
This is the studio component of the seminar offered in the morning. Ideal for advanced level students who are ready to work on a long-term project that uses text and imagery in the form of a publication. Students may work in different formats and use a variety of ap-proaches and processes, including: sculpture, photography, print-on-demand, zines, comics, RISO, screenprinting, and offset lithography. Our group sessions will include demos, cri-tiques, readings and studio time. Students should have taken at least one GRA class prior and have produced at least one artist’s book (bring the one that represents you best to the first class). Class demos will include inDesign and Photoshop.
GRA 0110
CODEX IN CONTEXT: STUDIOChantal Zakari
Tue 2-5 PM
PRT 0106
PRINT/GRAPHICS SEMINARPeter Scott
Tue 2-5 PM
PRINT + PAPER
Explore the screenprinting process in depth through a critical inquiry into the history of printed media. Student participation in group discussion and field trips to see contemporary examples of printmaking will be emphasized. We work to push the boundaries of screen-printing through experimentation with materi-als and presentation, and explore the use of the computer to create color separations in com-bination with photographic stencil techniques. Knowledge of the screenprinting process and/or prior enrollment in a screenprinting course is required. Prerequisite: Screenprinting A-Z, or Screenprinting: The Whole Story. Non-SMFA students and MAT Art Education students will receive a letter grade.
Intaglio printing means printing ink from the in-cised marks in a plate or matrix. Etching means that acid is used to corrode these marks into the plate. Exposure to intaglio printmaking, both etched and not, along with opportuni-ties to explore the medium in greater depth. In addition to etching basics (hard ground, soft ground, and aquatint), special attention will be paid to a broad array of intaglio applica-tions: found objects, collagraph approaches, alternative plates (non-etched), collage, and monoprint techniques. Level: Open to all lev-els, no previous experience in print required. Non-SMFA students and MAT Art Education students will receive a letter grade.
lum, El Anatsui, Tara Donovan, Doris Salcedo and Ryan McGinniss, among others. We will ask ourselves how the use of various fibers and handmade paper processes support the printed image, and respond to the notion of re-configuration and repetition.
A monoprint is an individual, one-of-a-kind print that can be made from a variety of traditional plates (metal, wood, cardboard, plexiglass, or other nontraditional surfaces). Exploration of mixing inks, handwiping, rolling techniques, and overprinting in multiple colors and plates. The making and printing of carbo-rundum, plates, gum transfers, and chine collé. Students can develop an image through a re-lated series of unique prints. Levels: Open to all levels, no printmaking experience required. Non-SMFA students and MAT Art Education students will receive a letter grade.
Color can serve descriptive, emotional and graphic purposes. Explore how color can be used to further conceptual ideas through proj-ects, presentations and demonstrations. Visits to the MFA and the Morse Study Room to look at historical and contemporary prints in color will illustrate how artists have used color to advance their work. Technical consid-erations including color mixing, layering and registration issues will be introduced and prac-ticed through students’ projects. Level: Open to all levels, students must have taken at least once course in Printmaking, any print media. Non-SMFA students and MAT Art Education students will receive a letter grade.
PRT 0170
ETCHING AND INTAGLIOPeter Scott
Wed 9-12, 2-5 PM
PRT 0114
MONOPRINTINGRhoda Rosenberg
Fri 9-12, 2-5 PM
PRT 0140
PRINT IN COLORCarolyn Muskat
Fri 9-12, 2-5 PM
PRT 0142
INTER/ADV SCREENPRINTING
Jennifer Schmidt
Wed 9-12 PM
14
Raw, unfiltered, and unapologetically personal, zines offer a creative forum for self- and collec-tive- expressions in a way that no other medi-ums can. Through a series of assignments de-signed to explore a wide range of topics from personal muse to world politics, students will embark on the journey of self-discovery and express their honest thoughts and observa-tions through the medium of zines. Risograph, xerox, and digital printers will be the primary modes of zine production for this class. Level: Open to all levels, basic knowledge of Ado-be Photoshop preferred but not required. Non-SMFA students and MAT Art Education students will receive a letter grade.
Intermediate/advanced course for students who want to pursue their individual work with focused faculty support. Non-media specific, emphasis on students working 2- and 3-di-mensionally. Non-SMFA students will receive a letter grade.
Multi-level course explores the roles of sci-entists and artists in discovery and docu-mentation. Historically, artists and naturalists partnered to collect and document the nat-ural world through illustration, printmaking, specimen collection, and photography. Cyano-
PRT 0198
DIRECTED STUDY: PRINT MEDIAJennifer Schmidt
Wed 2-5 PM
PRT 0117
MAKING PAPER, MAKING BOOKS: COLLECTING AS AN
ART-MAKING STRATEGYJesseca Ferguson, Michelle Samour
Wed 10-1, 2-5 PM
15
Woodcut facilitates direct, intuitive involve-ment, and allows for great flexibility in scale and approach - ranging from developing pow-erful images in black-and-white to building rich, painterly images in color. Emphasis on individ-ual vision and approach to the medium. Cov-ers technical information on wood, linoleum, and plastic blocks, ink, tools and tool mainte-nance, paper, printing with and without a press, color, and multi-block prints. Additional tech-niques introduced according to the needs and direction of the class. Non-SMFA students and MAT students will receive a letter grade.
Focus on the intersection of the drawing’s di-rect mark and printmaking’s indirect mark to generate new graphic ideas and explore new ways of approaching drawing. Explore the relationship between print media and visual narrative. Examine history of print, which has allowed word and image to be combined, re-produced easily, and been key in dissemination of stories of human experience acrosthe globe. Examine Japanese Ukiyo-e books, “wordless” novels, manga, graphic novels and comics, and analyze content, structure, and aesthetics. For students at all levels who have taken at least one drawing course at SMFA.
PRT 0174
WOODCUT/RELIEF PRINTMAKING
John Schulz
Mon 10-1, 2-5 PM
PRT 0184
DRAWING/PRINTS: PRINTS/DRAWING
John Schulz, Asuka Ohsawa
Tue 10-1, 2-5 PM
PRT 0193
SPECIAL TOPICS:ZINES
Asuka Ohsawa
Mon 10-1, 2-5 PM
type (blue-print), invented by an astronomer (1842), and popularized by a botanist (1843), is now embraced by 21st century artists. Stu-dents will make paper and study its history as essential to collection and documentation. Em-bedding materials within paper, printing cyano-type, or attaching specimens to finished sheets, enhances cataloguing possibilities (bound books, portfolios, scrolls). We will examine the work of 19th century naturalists and contem-porary artists who investigate collecting as an art-making strategy.
This intermediate and advanced course is for students who want to pursue their indi-vidual work with focused faculty support. It is non-media specific with an emphasis on stu-dents working 2 and 3-Dimensionally. Students will set goals and meet several times over the course of the semester with the faculty for critiques and to assess progress. The class will meet several times as a group to share work, receive feedback from peers, and develop strategies for speaking about their work. The faculty will make suggestions of relevant re-search and assist each student in developing a concise artist statement.
(cross-listed as GRA 119) An understanding of how mass media functions is necessary in order to enact meaningful social change. The media representation of a drowned Syrian boy and refugees; the Black Lives Matter ac-tivists; The US military recruiting from gaming industries for Iraq and Gulf Wars; The previ-ous US presidential elections; reality TV, etc. These images shape both our public policy and private lives. Additionally, between TV, radio, newspapers, magazines, internet, mo-bile phones, billboards and LED displays, we see between 250 to 3000 ads per day. These are just a few stories that indicate how text has expanded from the merely literary to all forms of cultural production, and how mass media has come to be a powerful means of expressing culture, which ‘frames’ our everyday life. Through readings, presentations, group dis-cussions and studio work we will look critically at the media culture. We will examine texts from Shanti Kumar, Erving Goffman, Jackson Katz, John Berger, Naomi Klein, Jean Kilbourne, Guy Debord, Adbusters, The Onion, fashion magazines, and activist art. These readings will create the structure for studio work as well as challenging commercial methods by producing work about our vernacular culture.
Introduces technique and theory of digital im-age making. Introduces students to digital cam-
PRT 0197
DIRECTED STUDY: PAPERMichelle Samour
Thurs 6-9 PM
mEdIA ArTS + PHOTOGrAPHY
PHT 0109
MEDIA CULTURE NOWNeda Moridpour
Thurs 9-12, 2-5 PM
PHOTOGRAPHY
PHT 0111
INTRO TO DIGITAL PHOTOGRAPHY
Laura Beth Reese
Fri 9-12, 1-4 PM
16
tion to medium format film cameras, which are well suited to increasing the scale and detail of photographic prints. Develop skills with light meters and color temperature, and further study of color and light in the visible spectrum. Continued use of hand-held light meters and operation of small camera flashes, Pocket Wiz-ards, basic lighting modifiers for small flashes and basic continuous lighting. Image projection, negative scanning, and digital printing; develop-ment of file management skills and workflow practices. Deeper insight and stronger grasp of practices in contemporary photography, with a continuing focus on the importance of ed-iting/selection and sequencing, and conceptual and practical implications of images generated through digital media. Non-SMFA students and MAT Art Education students will receive a letter grade. Prerequisite: PHT 0111 or per-mission of instructor.
(Cross-listed as GRA 104) For intermediate and advanced artists who want to use their imagination in the interest of social justice. Explores the prolific and exciting overlap be-tween socially engaged art and cultural prac-tices generated by recent social movements locally and globally. Provide knowledge about the history of this practice, technical support, assist with research, review artist projects, ad-dress recent strategies and examine the shift of socially engaged artists from “studio to sit-uation” or “participant.” Multiple visiting art-ists will teach strategies of engagement, class will collaborate with local artists to advance hands-on experiences. Individual artists and collectives such as Laurie Jo Reynolds, Faheem Majeed, PRESS PRESS, NulawLab, Design Stu-dio for Social Intervention, etc. Open to stu-dents of all disciplines, with a basic knowledge of contemporary art history and Adobe soft-ware as well as an interest in art and social/po-litical action. Level: Open to all levels. Non-SM-FA students and MAT Art Education students will receive a letter grade.
17
eras and flatbed scanners for image capture, computer programs such as Lightroom and Photoshop for image flow and processing, and archival digital printers for print output. Assign-ments, lectures, readings and demonstrations create a forum to discuss picture making, and its role in personal and cultural terms, in an age where the photograph has become ubiq-uitous. Engagement with histories of art and photography provides a platform to consider how photographs are produced, circulated, du-plicated and situated in social, political, cultural and economic contexts of the moment. How do we produce unique images, influenced by our own investigations within todays context? Level: Beginning level. Non-SMFA students and MAT Art Education students will receive a letter grade.
Hands-on advanced studio class. Learn to see what a traditional fine black and white print can be, and gain confidence with the mate-rials. After becoming adept at the traditional techniques, students are encouraged to ex-pand and break the rules in a manner that is appropriate, or inappropriate to the nature of light, film, paper, chemistry. Individual conver-sations will take place as students work in the dark room and the instructor oversees their techniques and monitors their progress. As the term progresses, students will each make a mural print of 40” x 50=/- “ Non-SMFA stu-dents and MAT Art Education students will receive a letter grade.
Continued use of DSLR cameras, emphasis on operating manual settings (focus, aperture, shutter speed, ISO, white balance). Introduc-
PHT 0114
BLACK, WHITE, GRAY: ADV. PHOTO
William Burke
Thurs 9-12, 2-5 PM
PHT 0118
INTERMEDIATE PHOTOGRAPHY
Bonnie Donohue
Mon 9-12, 2-5 PM
PHT 0133
SOCIALLY ENGAGED ARTNeda Moridpour
Tue 9-12, 2-5 PM
This intermediate hybrid studio course in film/video and photography focuses on creating and designing a set for still and moving im-age work. Drawing from cinema, photography, theater, and painting, this class experimentally explores the craft, technique, and concepts of the making of illusions and recording them in both still and time-based situations. Working in collaboration with multiple camera shoots, students learn advanced camera and lighting equipment and crew for one another. Open to SMFA, FMS, and other majors who have taken introductory classes in photography, film/video, or animation. Non-SMFA students will receive a letter grade.
Learning about photography from a con-cept-based or author-centric point of view. Breaking with the notion of “straight photog-raphy,” students will construct/plan their pho-tographs, intervene in the space, construct still-lifes and larger environments, consider the veracity of photographs, and create things to be photographed. Emphasizes the intentional-ity in student work and places that work in a larger historical context. The idea of “making” a picture instead of “taking” a picture has been around since the invention of photography, and was earlier referred to as “Art Photog-raphy” (differentiating it from photography as simply an objective, record-keeping process). Gaining particular popularity in the 1980’s at the height of Postmodernism, “making” practi-tioners today include Cindy Sherman, Gregory Crewdson, Lalla Essaydi, Paul Mpagi Sepuya, Mickalene Thomas and many others. Level: Open to all levels.
This intermediate hybrid/photography course is a deeper investigation of the concepts in-troduced in Making A Picture (PHT-0157). Building on the skills learned in the intro level course, students design and construct objects and environments to be photographed. The idea of “making” a picture instead of “taking” a picture is explored by intentionality and in-tervening in the space. The expectation is that in Making More of a Picture, students will de-velop their skills with more conceptually based assignments in the first half of the semester with weekly critiques. Each student will then choose a long-term project for the second half of the semester. Non-SMFA students will receive a letter grade. Prerequisites: Making a Picture PHT-0157, Intermediate Photo PHT-0101, or by permission of the instructor.
This intermediate course will develop skill in portrait photography while discussing the connection and relationship of the photogra-pher to subject as well as to their own un-conscious. Through workshops we will explore making portrait photographs. Readings will be assigned that address our unconscious wish-es likely reflected in the portrait photograph we make. Students will be expected to have a basic understanding of camera controls and in-troductory skill in digital imaging, such as expe-rience in Photoshop and basic digital printing. Or by permission of the instructor.
PHT 0157
MAKING A PICTURESandra Stark
Thurs 9-12, 2-5 PM
PHT 0158
MAKING MORE OF A PICTURESandra Stark
Fri 1-4 PM
PHT 0150
PORTRAITURE & THE SELF (MEDFORD CAMPUS)
Rachelle Mozman
Thurs 10-4 PM
18
FLM 0155
SCENE & SPACE: FILM & PHOTO
(MEDFORD CAMPUS)Jane Gillooly, Jeannie Simms
Wed 1:30-6:30 PM
(MFA, Post-Baccalaureate, Diploma or Third and Fourth year BFA Students). Students are limited to a maximum of two Directed Studies in one semester which cannot be in the same area. Faculty permission required. Non-SMFA students and MAT Art Education students will receive a letter grade.
Advanced class consisting of regular one-on-one meetings between photography students and faculty mentors over the course of the semester to critique work and assess progress. Individual critique sessions deepen student un-derstanding of their artwork, creative process, and work method, through focused critical feedback at regular intervals. The student is asked to present a statement of intent, quanti-fying expected output, topics of interest, proj-ect development or a statement of goals at the first meeting. At the end of the semester, s/he will summarize the work. This may be in the form of an artist’s statement. There may also be group meetings to discuss work in progress and assist students in developing invaluable skills for responding and giving feedback on the work of fellow students. Non-SMFA students and MAT Art Education students will receive a letter grade.
Explores basic lighting techniques, including use of sunlight, flashes, continuous studio lights, strobes, and mixed lighting sources. Learning to control and manipulate light is a funda-mental tool for any photographer. How light-ing defines an era and a look, and r lighting in relation to painting, video and film. Lighting demos, group critiques, lectures and occasional collaborative projects will ensure that students learn effective lighting techniques. Analysis of
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Image, Narrative and Psychoanalysis will ex-plore storytelling in connection to the role of our unconscious to symbolism and the imag-ery we make. We will reflect on the uncon-scious as housing memories that structure our narrative, and the relationship between these narratives and the art we create. The image speaks to memory, and time and is uniquely suited to create connections between person-al and public. Readings, exercises, film presen-tations and the development of a final project will be the focus of this course.
(Students who have taken Socially Engaged Art are encouraged to take this course.) This course consists of one-on-one meetings in which a student will meet individually with a faculty member several times over the course of the semester to further develop and ex-pand their interests and the skills they have acquired in addressing social justice through their work. Students will develop their own work, participate in group critiques, and re-ceive individual feedback sessions with faculty. The students are asked to present a statement of intent, quantifying expected output, topics of interest or a statement of goals at the first meeting. At the end of the semester they will complete and summarize the work they pro-posed. Faculty will meet each student four or more times a semester for a full hour as well as in group meetings to discuss work and prog-ress among fellow students. Group meetings will assist students in developing invaluable skills for responding and giving feedback to one another regarding the work of fellow stu-dents. Directed Study is for advanced students
PHT 0191
IMAGE, NARRATIVE, & PSYCHOANALYSIS
Rachelle Mozman
Wed 2-5, 6-9 PM
PHT 0191
SPECIAL TOPICS:DIRECTED STUDY: ART AND SOCIAL JUSTICE INTENSIVE
Neda Moridpour
Fri 9 - 1 PM
PHT 0193
DIRECTED STUDY: PHOTOGRAPHY
Rachelle Mozman
Wed 12-2 PM
PHT 0198
BASIC LIGHTINGSandra Stark
Mon 9-12, 2-5 PM
photographs in order to understand the light-ing sources used in their creation. Level: Beginning level.
Animation 3 continues the study of animation as an art form of personal expression, and highlights the skills and new techniques you will need as an animator out in the world, in-dependently and commercially. Through short in-class workshops, demos, screenings, and visiting artists, we will cover creative ways of generating ideas, maintaining momentum with your animated projects, new computer appli-cations and techniques, and ways of marketing yourself through film festivals, websites, and portfolios. In addition, each student will design, animate, and provide a soundtrack for their own independent project. Most of this work will be done outside of class, with a weekly one-on-one meeting with the instructor and teaching assistant. Students in this class are also eligible to attend the Ottawa International An-imation Festival in the Fall Semester, and a field trip to a local studio in the Spring Semester. Prerequisite: Animation 2 FLM 0056.
This beginner level studio class will introduce students to the conceptual and practical as-pects of the medium of moving image. We will explore the medium through screenings, readings, discussions, practice and critique of student’s works. The course will cover basic production skills such as camera operation and composition, editing in Adobe Premiere Pro and special effects (green screen, compositing etc.) in Adobe After Effects. Students will be
assigned weekly projects in moving image and will have the opportunity to experiment and develop a body of work in this medium.
Through in-class exercises, demos, screenings, and visiting artists, you will learn various tech-niques of animating, and how to record and mix a soundtrack for animation. The three techniques we cover are Drawn, Cut-Out, and Stop-Motion Animation. This class is also de-signed to give you a deeper understanding of Animation as an art form of personal expres-sion, and the various ways Animation is both viewed and used throughout the world; tradi-tional narratives to poetic/abstract non-narra-tives to interaction to installation. Most assign-ments will be worked on in class using both film and computer-video equipment. No pre-vious experience required, just an open mind.
This course is designed for students who spe-cialize in another area to reimagine/recontex-tualize their work frame-by-frame through an-imation. Students will be introduced to a wide variety of animation techniques with special attention given to their multimedia possibili-ties. Students working in film, sculpture, paint-ing, photography, performance, video, ceramics, drawing etc. will consider the possibilities for animating their work and learn the techniques necessary for integrating animation into their art practice. The course is aimed to help stu-dents who don’t see themselves becoming an-imators as such, but who have an interest in finding ways to expand their current practice through animation. Special consideration will be given to installation concerns and alterna-tive methods of presentation. Class time will
FLM 0136
ANIMATION 1Gina Kamentsky
Wed 9-12, 2-5 PM
FLM 0138
ANIMATION INTEGRATIONMaya Erdelyi-Perez
Fri 9-12, 2-5 PM
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MEDIA ARTSFLM 0108
ANIMATION 3Gina Kamentsky
Tue 9-12, 2-5 PM
FLM 0124
INTRO TO MOVING IMAGENicholas Brynolfson
Mon 9-12, 2-5 PM
work in progress and assist students in devel-oping invaluable skills for responding and giv-ing feedback on the work of fellow students. Non-SMFA students and MAT Art Education students will receive a letter grade.
Hybrid studio/seminar focusing on durational art forms of film, video, animation, or sound. Helps students in media arts focus their re-search and inspire their practices by examin-ing the ways sound and moving image artists structure concepts over time. The Film/Video Essay introduces film/video essays as potent forms of artistic expression. With the develop-ment of the moving image, artists have adopt-ed the essay form to extend cultural analyses into the audiovisual domain. Located between a poem and a documentary, the film/video es-say stresses subjective and political dimensions of life (and often both at the same time). The class is structured around reading texts that unpack the form and function of the film/video essay. There will also be several film and video screenings. The class culminates with students either writing an essay or producing a film/video that reflects concepts learned during the course. Working knowledge of basic vid-eo and audio recording and editing required. Non-SMFA students will receive a letter grade.
This intermediate hybrid studio course in film/video and photography focuses on creating and designing a set for still and moving im-age work. Drawing from cinema, photography, theater, and painting, this class experimentally
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FLM 0191
SPECIAL TOPICS: FILM/VIDEO ESSAY: BETWEEN
POEM & DOCUMENTARYNate Harrison
Wed 2-5 PM
FLM 0155
SCENE & SPACE: FILM & PHOTO
(MEDFORD CAMPUS)Jane Gillooly, Jeannie Simms
Wed 1:30-6:30 PM
be split between screenings, demonstrations, work time and field trips to view animation in public and/or gallery settings when possible. Showcasing animation in the gallery is also a component: (ex. Julian Opie, Natalie Djurberg, Allison Shulnik, William Kentridge, Kara Walker, etc) The final projects have usually been installations.
Drawing for Animation will build drawn anima-tion skills through in-class exercises and relat-ed assignments. Students will animate all their work on paper using a variety of dry and wet media. They will gain knowledge of the physics of motion, squash and stretch, time-based blur-ring, perspective in motion, kinesthesia, and the use of light and shadow. Observational skills will be enhanced by using a live model, and by analyzing live-action footage and exempla-ry animation. GIFS, and methods of integrat-ing illustration and digital drawing formats will also be included. A wide range of independent animated films are screened to demonstrate different techniques and approaches.
Advanced class consisting of regular one-on-one meetings between film, animation, video and sound students and faculty mentors to critique work and assess progress. Through focused critical feedback at regular intervals individual critique sessions deepen student un-derstanding of their artwork, creative process, and work method. Students must present a statement of intent, quantifying expected out-put, topics of interest, project development or a statement of goals at the first meeting. At the end of the semester, students must sum-marize work, likely in the form of an artist’s statement. Possible group meetings to discuss
FLM 0172
DIRECTED STUDY: MEDIA ARTSMary Ellen Strom
Tue 6-9 PM
FLM 0160
DRAWING FOR ANIMATIONMaya Erdelyi-Perez
Thurs 9-12, 2-5 PM
explores the craft, technique, and concepts of the making of illusions and recording them in both still and time-based situations. Working in collaboration with multiple camera shoots, students learn advanced camera and lighting equipment and crew for one another. Open to SMFA, FMS, and other majors who have taken introductory classes in photography, film/video, or animation. Non-SMFA students will receive a letter grade.
This beginning course explores the medium of sound and the ways in which visual artists have incorporated it into their practice. While cov-ering separate “sound art” categories and then creating 3 assignments from them, you will ex-plore basic audio principles, sound hardware, digital recording and mixing in ProTools and Live environments. Class is divided between lecture/discussion/presentation, and technical instruction and lab time. Through the course of the class, you will gain a solid foundation in the understanding of sound and a contemporary context for the field of sonic arts while devel-oping a strong tool set for working within the medium. For individuals involved in multimedia work who desire a basic knowledge of work-ing with audio. No experience is necessary.
A beginning level analog sound course about tickling circuits and making them laugh. Stu-dents build sound making oscillators, and circuit bend toys to create otherworldly au-ral electrical experiences. The class focuses on electricity and how components such as; potentiometers, resistors, transistors, sensors, etc. work. Students learn basic electronic and prototyping skills such as soldering, using pro-to-boards, circuit design, and hardware hacking
within the context of making sounds. The class involves circuit bending, soldering and building synth circuits, and possibly integrating basic programming using Arduino and IOT chips like the ESP8266. Nicolas Collins “Handmade Electronic Music” will be a reference for experiments.
A beginning level course for undergraduates consists as a series of intensive workshops to give you the skills to become a technically proficient and thinking video maker. Students produce individual projects through hands-on instruction in camera composition, lighting, sound, and editing. We survey and analyze cur-rent trends in video and digital art practices through screenings, readings, and discussions, and explore a range of possibilities for video art production including single-channel, in-stallation, performance, and Internet projects. Students are introduced to digital film/video cameras, microphones, lighting kits, nonlinear editing systems, computers for multi-channel installation, video projectors and screens for image display, audio speakers for multi-channel and surround sound installation.
A beginning level course for undergraduates consists as a series of intensive workshops to give you the skills to become a technically proficient and thinking video maker. Students produce individual projects through hands-on instruction in camera composition, lighting, sound, and editing. We survey and analyze cur-rent trends in video and digital art practices through screenings, readings, and discussions, and explore a range of possibilities for video art production including single-channel, in-stallation, performance, and Internet projects.
VID 0004-01
VIDEO I(MEDFORD CAMPUS)
Anja DuBois
Tues 1:30-6:30 PM
VID 0004-02
VIDEO ISTAFF
Thurs 9-12, 2-5 PM
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SND 0038
INTRODUCTION TO SOUNDAndrew Hlynsky
Wed 9-12, 1-4 PM
SND 0150
HANDMADE SOUNDS & TICKLING CIRCUITS
Andrew Hlynsky
Thurs 9-12, 1-4 PM
Introductory interdisciplinary seminar on vi-sual culture and theory required for all BFA students. Designed to familiarize art students new to the SMFA at Tufts with some of the questions, historical movements, and texts that provide an enriching background for both making and interpreting art today – icono-clasm, modernism, Marxism, feminism, environ-mentalism, anti-imperialism, and post-struc-turalism. Course provides a rigorous study of some historical thinkers who have interpreted the role of visual culture and the relationship between image and reality in ways that contin-ue to resonate today. All texts studied in light of historical and contemporary artistic and pop cultural productions.
This class discusses the work of one sculptor per week. Our case studies are: Claes Olden-burg, Sol Lewitt, Eva Hesse, Niki De Saint Phal-le, Joseph Beuys, Tony Cragg, Jessica Stockhold-er, Doris Salcedo, Yinka Shonibare, Do-Ho-Suh. We will look at the different phases of the artists’ body of work, which will be contextual-ized historically and theoretically. Students will
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Students are introduced to digital film/video cameras, microphones, lighting kits, nonlinear editing systems, computers for multi-channel installation, video projectors and screens for image display, audio speakers for multi-channel and surround sound installation.
A course for experienced video students to improve upon skills useful for creating ad-vanced video projects. The emphasis will be the intersection of narrative and video art. At-tention will be given to structuring time based work for both single and multiple screens, editing and sound design. Using HD cameras, including DSLR/hybrids, Adobe Premiere and other video and audio software tools, students are encouraged to think of video as a plastic medium with a direct relationship to sound, and other fine art mediums and graphic arts. Readings and discussions will explore topics relevant to video art discourse including: the power of the image; the dialectic between mu-sic / sound and video, vernacular video (social media), and fine art. Prerequisite: Video 1, Intro to the Moving Image, or equivalency. Non-SMFA students and MAT Art Education stu-dents will receive a letter grade.
VID 0105
VIDEO IIMary Ellen Strom
Tue 9-12, 2-5 PM
VMS 0025
INTRO TO CONTEMPORARY SCULPTURESilvia Bottinelli
Tue 9 -11:30 AM
VMS 0001
INTRO TO VISUAL AND MATERIAL STUDIES
Tina Wasserman, Emily Gephart
Fri 10-12:30 PM
VisUaland MaterialstUdies,English &EDUcation
VISUAL AND MATERIAL STUDIES
analyze different types of sources (artist state-ments, exhibition reviews, curatorial texts and scholarly essays), in order to view the same topic from different perspectives. The goal of the course is to allow an understanding of contemporary sculpture through the study of a selection of personalities. The approach will offer the opportunity to expose students to in depth analysis of primary and second-ary sources, and refer to these sources as evi-dence in writing projects.
Installation, site-specific sculpture, and public art since 1960, offering insight into the re-lationship between the work of art and the environment in which it is installed. Place-mak-ing, addressing issues of inclusivity, representa-tion, and public reception of monuments and memorials, public art, art and activism, social sculpture, and examples of community-based sculpture projects.
(cross listed as FMS 73) This course will pro-vide the student with an overview of the cine-matic work of Alfred Hitchcock. Using critical, psychoanalytic and feminist film theory we will investigate the various historic, aesthetic, the-matic and formal concerns threaded through-out his film work. In our study we will exam-ine his skillful narrative coding of the suspense thriller using point-of-view/spectator identifi-cation techniques, his powerful but often dis-turbing representation of women, the patterns of looking and voyeurism inscribed in his work and much more.
This course will introduce the student to a group of historic American films produced between 1941 and 1958 that are often iden-tified as “film noir.” We compare this historic group of films with later incarnations of film noir, examining how this original historic body of work profoundly influenced a wide range of neo-noir practices. We will contextualize these films through broad historical, aesthetic and critical frameworks and analyze a range of common underlying themes and preoccu-pations including: the creation of a dark and brooding pessimism; the representation of the noir woman as a “femme fatale;” modernity, postmodernity, urbanism, postwar paranoia and anxiety, the existential impulse of noir, issues of race, gender and more. The work of such directors as Billy Wilder, Jules Dassin, Roman Polanski, Ridley Scott, David Lynch, Bill Duke, Rian Johnson, Christopher Nolan, Chan-wook Park, the Coen Brothers and more will be considered.
This course examines the major movements, historical events and cultural influences shap-ing the visual cultures of the United States, as artists explored selfhood and a developing na-tional identity through imagery. Although we will embrace the ‘fine arts,’ our investigation exceeds their traditional limits: we will inves-tigate how Americans established models of the ‘body politic’ via caricature and illustration, performance, photography, advertisements and other emerging mass media.
VMS 0101
NEO-NOIR AND ITS CONTEXTS
Tina Wasserman
Fri 1:30 - 4 PM
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VMS 0026
SCULPTURE IN SITESilvia Bottinelli
Thurs 9-11:30 PM
VMS 0100
HISTORY & AESTHETICS IN HITCHCOCK
Tina Wasserman
Thurs 1:30 - 4 PM
VMS 0124
PICTURING THE BODY POLITICEmily Gephart
Wed 2- 4:30 PM
Composition course with primary emphasis designed to provide a foundation on student’s own writing. Choice of topics drawing on vari-ous materials including fiction, essays, films and other visual and aural texts in an interdisciplin-ary manner. Prerequisite: English 1 or 3.
Art Education with Special Populations con-siders the role of the art educator with regard to visual culture and art making with special populations. Attention focuses on learners with special needs. Exceptionalities in learning and expressing are explored through current research in psychology, sociology and anthro-pology. Field observations to art education sites that care for and educate special popula-tions will inform reflective discussion and cur-riculum development. Solving issues of lesson adaptations to make art available to all will be explored. A broad view of ability/disability will inform the art educator’s role in asking ques-tions such as: What counts as art? Who counts as artist? and What counts as knowledge?
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(Cross-listed w/ ENV 128) An unprecedented attention has been paid to Food as a form of art in the past few years. This seminar explores recent curatorial, theoretical and historical contributions on this topic. We will look at food as a subject for Pop sculpture; the incor-poration of food in New Realists ready mades; food as edible material for three dimensional work; ingestion, food and the body in sculptur-al and performative pieces; feminist installation art and references to the kitchen; artist restau-rants, food and counterculture; food decay in sculptural works, as a signifier of time or trig-ger of disgust; gardening and farming as social sculpture; and relational projects using cooking and dining as tools for community building. The readings assigned will address theoretical aspects, such as the aesthetic and phenome-nological experience of taste; memory and everyday foods; identity politics; and relational aesthetics. The list of artists discussed includes: Claes Oldenburg; Carolee Schneemann; Han-nah Wilke; Janine Antoni; Robin Weltsch and Vicki Hodgetts; Gordon Matta Clark; Allen Ruppersberg; Paul McCarthy; Joseph Beuys; Rirkrit Tiravanija; Andi Sutton; and Michael Ra-kovitz. The class features two small group dis-cussion sessions with scientists at the Human Nutrition Research Center on Aging in China-town to consider the possible intersections of food-based art and nutrition science. We will also develop a final community-based project
ENGS 0002-01 / 02 / 03 / 04
ENGLISH IICheryl Allison
Mon & Wed 6 - 7:15 PM
Cheryl Allison
Mon & Wed 7:30 - 8:45 PM
Adam Spellmire
Tues & Thurs 12:30 -1:45 PM
Adam Spellmire
Tues & Thurs 6 - 7:15 PM
EDS 0122
ART EDUCATION WITH SPECIAL POPULATIONS
Katharine J Furst
Mon 5:30-8:30 PM
ENGLISH
ART EDUCATION
VMS 0128
FOOD AS SCULPTURE SINCE 1960
(MEDFORD CAMPUS)Silvia Bottinelli
Fri 10:30 -1 PM
This course is designed to build and develop the verbal and written articulation critique skills among the first and second year grad-uate students in a group setting facilitated by a faculty member. Critique is an essential skill for students to develop. Graduate Group Cri-tique is a forum in which the capability of each student to identify and articulate the concerns, issues and motivations that form the basis of their research and practice expands. Through focusing on the ability to articulate the con-cerns investigated and addressed through each individual student’s art work, in whichever form that may take, this course assists students in both preparing for their review boards and preparing for the defense of their thesis. All first and second year Master of Fine Arts students are required to take this course each semester.
This course invites second-year grad students to meet individually with faculty over the length of the semester. The one-on-one meet-ings will assist students in the development
of their personal projects through a series of rigorous conversations scheduled according to the scope of the student’s needs. Students will take this course for credit as an alternative to the grad group critique.
Senior Thesis provides a platform for the de-velopment of an ongoing independent art practice. The program spans two continuous semesters, constructing a year-long trajec-tory of research, writing, art-making and ca-reer-building centered around critiques with program faculty, visiting artists, and arts pro-fessionals. Students are challenged to explore their own individual interests and practices, within the context of a group of peers and fac-ulty, towards the goal of developing a coherent project. Independent studio work is required throughout the year, and students should ex-pect to spend at least 6-12 additional hours per week both working in the studio and at-tending lectures, field trips, etc. outside of class time. During the Fall semester, students will concentrate on formal research and writing exercises in addition to the development of an independent body of work. As a class, we will regularly engage in discourse and the public exchange of ideas in the form of individual cri-tiques and discussions; small group interactions with peers in reading circles, roundtables, and working groups; whole program group meet-ings, lectures, and artist talks; and interactions with thinkers and specialists from our wider university and global communities. Students are challenged to explore different modes and methodologies of research and art-mak-ing as well as make connections between art and other intellectual and creative practices. The emphasis in the Spring semester shifts to production and the development of various professional practices, including writing about and formally presenting your work. The Spring
SENIOR THESIS
SMFA 0093
SENIOR THESIS PROGRAMRia Brodell, Kendall Reiss,
Willoughby HastingsFri 9-12, 2-5 PM
SMFA 0205
GRAD INDIVIDUAL CRITIQUESJeannie Simms
Mon 2-5
GRadcRitiqUes, SeniOR Thesis+Internships
GRAD CRITIQUES
SMFA 0203-01 / 02 / 03
GRAD GROUP CRITIQUEMary Ellen Strom
Wed 6-9 PM
Jennifer Schmidt
Tue 6-9 PM
Danielle AbramsTue 6-9 PM
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Internships for Studio Credit are an import-ant part of SMFA at Tufts University’s studio arts curriculum and a great complement to your studio training. Whether your internship is with a commercial design firm, an education program, a community garden, a new media facility, a non-profit arts organization, a gallery venue, or a professional artist’s studio, you will acquire valuable skills and develop new insights into your chosen creative path. Tufts Career Center staff offer extensive support and guid-ance along the way. Interns also participate in a two-part evaluation process, documenting rig-orous self-reflection that advances profession-al goals and maximizes learning outcomes. This credit-bearing option is available to students in the Studio Diploma, BFA, and Dual Degree BFA + BA/BS programs. Students enrolled in the Post-Baccalaureate or MFA program are eligible with permission from the Program Di-rectors. For detailed descriptions of internship opportunities and one-on-one advising, come visit us in the Tufts Career Center. All students seeking internships are required to receive written approval from the Internship Direc-tor at registration. Prerequisite: one year of study and no fewer than two remaining review boards prior to graduation. Transfer students must consult with Academic Affairs to determine eligibility.
semester culminates in the Senior Thesis Ex-hibition, towards which students are required to work in planning, development, marketing, catalogue development, as well as building and installation of the exhibition.
Internships for Studio Credit are an import-ant part of SMFA at Tufts University’s studio arts curriculum and a great complement to your studio training. Whether your internship is with a commercial design firm, an education program, a community garden, a new media facility, a non-profit arts organization, a gallery venue, or a professional artist’s studio, you will acquire valuable skills and develop new insights into your chosen creative path. Tufts Career Center staff offer extensive support and guid-ance along the way. Interns also participate in a two-part evaluation process, documenting rig-orous self-reflection that advances profession-al goals and maximizes learning outcomes. This credit-bearing option is available to students in the Studio Diploma, BFA, and Dual Degree BFA + BA/BS programs. Students enrolled in the Post-Baccalaureate or MFA program are eligible with permission from the Program Di-rectors. For detailed descriptions of internship opportunities and one-on-one advising, come visit us in the Tufts Career Center. All students seeking internships are required to receive written approval from the Internship Direc-tor at registration. Prerequisite: one year of study and no fewer than two remaining review boards prior to graduation. Transfer students must consult with Academic Affairs to determine eligibility.
SMFA 0270
GRADUATE INTERNSHIP
Ryan Smith
INTERNSHIPS
SMFA 0070
UNDERGRADUATE INTERNSHIP
Ryan Smith
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DRAWING +PAINTING
PRINT, PAPER +GRAPHIC ARTS
MEDIA ARTS +PHOTOGRAPHY
VISUAL AND CRITICAL STUDIES + ENGLISH
GRAD CRITIQUES, SENIOR THESIS + EDUCATION
SCULPTURE + PERFORMANCE
DRAWING + PAINTING
MEDIA ARTS + PHOTOGRAPHY
GRAD CRITIQUES, SENIOR THESIS& INTERNSHIPS
VISUAL ANDMATERIAL STUDIES,
ENGLISH & EDUCATION
PRINT, PAPER & GRAPHIC ARTS
School of the Museum of Fine Arts at Tufts University230 The FenwayBoston, MA 02115