SMFA at Tufts Spring 2020 Course Catalog by Tufts University

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PLAN YOUR SPRING 2020 SCHEDULE:

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Spring 2O2O COUrse CataLOg WEDNESDAY

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Table of CONTENTS: Course Meeting Time Course Code & Name

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ScULptUre + Performance 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

PER 0102 : Beginning Performance PER 0191 : Special Topics: Politics, Perf, & Avant Garde PER 0191 : Special Topics: Movement, Sound, and the Senses PER 0106 : Humor and Performance SCP 0031 : 3D Foundations SCP 0103 : Digital Fabrication Lab SCP 0108 : Open Studio

SCP 0115 : Advanced Installation Projects SCP 0140 : Beginning Fibers

SCP 0191 : Special Topics: Future Techno Imaginaries SCP 0193 : Directed Study SCP 0172 : Directed Study SCP 0102 : Beginning Ceramics

SCP 0117 : The Multiple SCP 0143 : Intermediate Sculpture

SCP 0138 : Ceramics: The Creative Process SCP 0142 : Fabric into Form

SCP 0144 : Food: The Social and Functional Politics of Service

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Drawing + PAinting 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 i

DRW 0002 : The Bridge DRW 0013 : Introduction to Drawing Studio (Medford Campus) DRW 0013 : Introduction to Drawing Studio DRW 0018 : Intro to Drawing Intensive DRW 0028 : Intro Interdisciplin. Drawing DRW 0065 : Inter Drw:Abstraction, Process DRW 0069 : The Human Body: Inside and Out DRW 0132 : Adv. Proj: Drawing Dialogue DRW 0162 : Advanced Drawing: Making Sense DRW 0193 : Drawing Directed Study DRW 0123 : Intermediate Figure Drawing: Real People

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Drawing + PAinting 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

PAI 0003 : Introduction to Oil Painting PAI 0010 : Intro to Water, Color & Paper PAI 0021 : Beginning Painting (Medford Campus) PAI 0050 : Intermediate Projects PAI 0075 : Intermediate Studio Seminar PAI 0120 : Adv Paint: Picturing the Anthropocene PAI 0130 : Adv Painting: Painting Space PAI 0151 : Intermediate Painting & Technology PAI 0155 : Ablab: Intermediate Abstraction PAI 0172 : Intermediate Portrait Painting PAI 0193 : Painting Directed Study

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print,paper + graphic arts R - 10-1 PM, 2-5 PM GRA 0060 : Oral and Visual Storytelling T - 10-1 PM GRA 0091 : Special Topics: Book Arts: Chapter 2 T - 9-12 PM, 2-5 PM GRA 0103 : Socially Engaged Art F -10-1PM, 2-5 PM GRA 0108 : Subversive Graphics: Socially Engaged Work R - 9-12 PM, 2-5 PM GRA 0119 : Media Culture Now T, F - 12-2 PM GRA 0193 : Directed Study T - 9-12 PM GRA 0109 : Codex in Context: Seminar T - 2-5 PM GRA 0110 : Codex in Context: Studio T - 2-5 PM PRT 0106 : Print/Graphics Seminar R - 9-12 PM, 2-5 PM PRT 0110 : Intensive Print + Paper Worksh F - 9-12 PM, 2-5 PM PRT 0114 : Monoprinting F - 9-12 PM, 2-5 PM PRT 0140 : Print in Color W - 9-12 PM PRT 0142 : Inter/Adv Screenprinting W - 9-12 PM, 2-5 PM PRT 0170 : Etching and Intaglio M - 10-1PM, 2-5 PM PRT 0174 : Woodcut/Relief Printmaking T - 10-1PM, 2-5 PM PRT 0184 : Drawing/Prints: Prints/Drawing M - 10-1PM, 2-5 PM PRT 0193 : Special Topics: Zines W - 2-5 PM PRT 0198 : Directed Study: Print Media W - 9-12 PM, 2-5 PM PRT 0117 : Making Paper, Making Books: Collecting as an Art-Making Strategy R - 6-9 PM PRT 0197 : Directed Study: Paper ii

Table of CONTENTS: Course Meeting Time Course Code & Name

Pages:16-23

media arts + PhOtOgraphy 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

PHT 0109 : Media Culture Now PHT 0111 : Intro to Digital Photography

PHT 0114 : Black, White, Gray: Adv. Photo PHT 0118 : Intermediate Photography

PHT 0133 : Socially Engaged Art PHT 0155 : Scene & Space: Film & Photo (Medford Campus) PHT 0157 : Making a Picture PHT 0158 : Making More of a Picture

PHT 0150 : Portraiture & the Self (Medford Campus) PHT 0191 : Special Topics : Image, Narrative, & Psychoanalysis PHT 0191 : Special Topics : Directed Study : Art & Social Justice Intensive

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

PHT 0193 : Directed Study : Photography PHT 0198 : Basic Lighting FLM 0108 : Animation 3 FLM 0124 : Intro To Moving Image FLM 0136 : Animation 1 FLM 0138 : Animation Integration

FLM 0160 : Drawing for Animation FLM 0172 : Directed Study: Media Arts

FLM 0191 : Special Topics: Flm/Vid Essay: Between Poem & Documentary

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

FLM 0155 : Scene & Space: Film & Photo (Medford Campus) SND 0038 : Introduction to Sound SND 0150 : Handmade Sounds & Tickling Circuits VID 0004 : Video I (Medford Campus) VID 0004 : Video I VID 0105 : Video II

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VIsUal & Material StUdies

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F - 10-12:30 PM T - 9-11:30 AM R - 9-11:30 AM

VMS 0001 : Intro to Visual and Material Studies VMS 0025 : Intro to Contemporary Sculpture VMS 0026 : Sculpture In Site

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Vms, English + EdUcation 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

VMS 0100 : Hist & Aesthetics in Hitchcock VMS 0101 : Neo-Noir and Its Contexts VMS 0124 : Picturing the Body Politic VMS 0128 : Food as Sculpture since 1960 (Medford Campus) ENGS 0002 : English II : Section 1 ENGS 0002 : English II : Section 2 ENGS 0002 : English II : Section 3 ENGS 0002 : English II : Section 4 EDS 0122 : Art Education with Special Populations

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Grad,SeniOr thesis & Others W - 6-9 PM T - 6-9 PM T - 6-9 PM M - 2-5 PM F 9-12 PM, 2-5 PM N/A N/A

SMFA 0203 : Grad Group Critique SMFA 0203 : Grad Group Critique

SMFA 0203 : Grad Group Critique SMFA 0205 : Grad individual Critiques

SMFA 0093 : Senior Thesis Program SMFA 0070 : Undergraduate Internship SMFA 0270 : Graduate Internship

ScULPTUre + PERfoRmance PE R FOR MA N CE PER 0102

BEGINNING PERFORMANCE Danielle Abrams Tue 9-12, 2-5 PM 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 basic readings and develop the vocabulary with which to discuss and critique performances.

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. PER 0191

SPECIAL TOPICS: MOVEMENT, SOUND, AND THE SENSES Morgan Andrews Wed 6-9 PM

PER 0191

SPECIAL TOPICS: POLITICS, PERFORMANCE, & THE AVANT GARDE Morgan Andrews Thurs 9-12 PM 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 models 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 century 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

Our bodies hold a wealth of material that begs to be sourced for use in our creative and artistic 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 assignments. 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 composition, 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 artistic 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.

PER 0106

HUMOR AND PERFORMANCE

SCP 0103

DIGITAL FABRICATION LAB

Danielle Abrams

Floor Van De Velde

Wed 2-5 PM Examines the history of humor, its role in popular culture and art, and its use as a means of social resistance through the lens of performance art. Explores stand-up comedy, laughter yoga, clowns, the carnival, pageants, parades, camp, kitsch, civil disobedience, pathos, and the psychiatric, spiritual, and philosophical interpretations of humor. Artists, writers, and subjects studied include Mikhail Bakhtin, Henri Bergson, Surrealists, Situationists, slapstick, the Chitlin’ Circuit, the Borscht Belt, the Yippies, reality TV, memes, and works by contemporary artists such as Shana Moulton, Yana Evans, Dynasty 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.

Fri 9-12, 2-5 PM 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 objects, 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-SMFA students and MAT Art Education students will receive a letter grade.

SCP 0108

OPEN STUDIO Mark Cooper, Tanya Crane

SCULP TUR E

Tue 9-12, 2-5 PM

SCP 0031

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 critiques and receiving individual feedback sessions with faculty. Faculty will work with students as needed on techniques and processes relevant to the ongoing development of their work. Non-SMFA students and MAT Art Education students will receive a letter grade.

3D FOUNDATIONS Timothy Manalo, Christy Georg Mon 9-12, 2-5 PM 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 important 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 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 advanced-level studio course where we will engage in explorations of space, site, location, situation, immersive experience, viewer relations and exhibition design. We will look at all the various permutations of installation art, including video, sound, performance, virtual reality and the digital realm, social exchange, collaboration, interactivity and the blurred boundaries between media. This course is designed 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 planning and development of an outside group exhibition, self-directed studio work, critiques, discussions, demonstrations, field trips and introduction to the work of contemporary artists in the field. Non-SMFA students and MAT Art Education students will receive a letter grade.

SCP 0191

SPECIAL TOPICS: FUTURE TECHNO IMAGINARIES Betsy Grace Redelman Diaz Wed 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. Looking at artists, authors, and filmmakers such as Janelle Monae (Cindi Mayweather), Chitra Ganesh, Ryan Coogler (Black Panther), Catherine S. RamĂrez, Octavia Butler, and Guadalupe Maravilla, the course considers how sci-fi can be used as a creative tool for liberation. Students will be encouraged to employ various media, materials, and art-making processes as they create techno-imaginaries of their own, exploring social transformation through sculpture.

SCP 0193

DIRECTED STUDY Tanya Crane Tues 6-9 PM

SCP 0140

BEGINNING FIBERS Samantha Fields Thurs 9-12, 2-5 PM 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 contemporary 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.

Individual meetings with faculty member to critique work, assess progress, and develop mentorship between faculty and student. Consists of four or more individual meetings per semester in addition to group meetings to discuss work and progress. Directed Study is for advanced students (MFA, Post-Baccalaureate, Diploma or Third and Fourth year BFA Students). Faculty permission required.

SCP 0172

DIRECTED STUDY Michael Barsanti Wed 6-9 PM 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 materials 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 individual goal outlines, research and individual crits. SCP 0102

BEGINNING CERAMICS Michael Barsanti Thurs 9-12, 2-5 PM An introduction to sculptural, painterly, and functional approaches to ceramics. Explores techniques in wheel-throwing and construction for hand-building and examines the basic use of fire, glazes at low and high temperatures, and raku. No prerequisites. Non-SMFA students and MAT Art Education students will receive a letter grade.

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 cultivating the intellectual exploration requisite to sustaining a studio practice. Prerequisite: 3D Foundations, Beginning Sculpture or equivalent. SCP 0143

INTERMEDIATE SCULPTURE Christy Georg Tues 9-12, 2-5 PM Intermediate sculpture studio course involving various materials and methods of making. Projects in woodworking, welded steel sculpture and casting, as well as mixed media. Focused on the development of technical and analytical 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 cultivating the intellectual exploration requisite to sustaining a studio practice. Prerequisite: 3D Foundations, Beginning Sculpture or equivalent.

SCP 0117

THE MULTIPLE Kendall Reiss Thurs 9-12, 2-5 PM This studio course examines the historical and applied context of variety of examples of multiples 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. Projects in woodworking, welded steel sculpture and casting, as well as mixed media. Focused on the development of technical and analyt-

SCP 0138

CERAMICS: THE CREATIVE PROCESS Betsy Redelman Diaz Mon 2-5, 6-9 PM Introductory seminar and studio course which investigates the subject of creativity and the creative process from different disciplines. Discussions from a variety of writers and artists create a conceptual framework in addition to practicing the methodologies of creativity through listing and mapping, exercises, technical instruction, parallel making, experimen4

tation and approaching clay from a place of inquiry and inspiration. SCP 0142

FABRIC INTO FORM Samantha Fields Tues 9-12, 2-5 PM Introduction to sculptural construction with fabric focused on its three-dimensional capabilities. Through class demonstrations, exercises, and the development of individual projects, explore the potential of fabric to create sculpture. Techniques covered include fabric manipulation through machine and hand sewing, gluing, stiffening, stuffing, pattern drafting and armature construction, in addition to researching fabric histories, and contemporary meanings as well as past and present artists working in this media. SCP 0144

FOOD: THE SOCIAL AND FUNCTIONAL POLITICS OF SERVICE Michael Barsanti, Tanya Crane Wed 9-12, 2-5 PM 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 community 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.

D rawi ng + Pai nti ng DR AW I N G DRW 0002

THE BRIDGE Charles Goss Thurs 9-12, 2-5 PM The Bridge will access your personal sources and suggest pathways and strategies to connect and clarify your relationship with individual 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-media, 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 project. 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-

tive, tonal value, composition, point of view, proportion, and measurement. Strong composition, 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 drawing allowing students to create connections across the curriculum. Drawing Studio is ideal for students new to drawing and for those interested in improving their artistic practice. Students will be required to purchase materials.

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 inclass demonstrations, presentations, exercises and assignments. Students will be required to purchase materials.Â Non-SMFA students will receive a letter grade.

DRW 0013

David Antonio Cruz

INTRODUCTION TO DRAWING STUDIO Eva Lundsager Thurs 6-9 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, perspective, tonal value, composition, point of view, proportion, and measurement. Strong composition, 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 drawing allowing students to create connections across the curriculum. Drawing Studio is ideal for students new to drawing and for those interested in improving their artistic practice. Students will be required to purchase materials. DRW 0018

INTRO TO DRAWING INTENSIVE Ethan Murrow Tues 9-12, 2-5 PM Comprehensive introduction to drawing techniques and materials for first year students or students new to college-level art making who

DRW 0028

INTRO TO INTERDISCIPLINARY DRAWING Tues 9-12, 2-5 PM Preparation for students interested in pursuing interdisciplinary practice and is designed to focus on the use of drawing as a bridge to other media such as sculpture, video, performance, 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. Students will be required to purchase materials.Â DRW 0065

INTERMEDIATE DRAWING: ABSTRACTION, PROCESS Nan Freeman Thurs 9-12, 2-5 PM This intermediate course explores abstraction, process, and formulation. Drawing as a process and product has the ability to communicate 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 6

the visual formulation of ideas in a multitude of drawn forms. Development of Individual imagery and concepts through experimentation 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, digital 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.

ing independent projects in drawing. The relation of content, strategies, and contexts will be explored, shared, and emphasized. Coursework will include in-class work on independent projects, group and individual critique and class discussions. Homework will be assigned.

DRW 0069

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 weekly 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 responses 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 disciplines. This course is experimental and flexible. Intro Drawing classes or relevant experience recommended.

THE HUMAN BODY: INSIDE AND OUT Mara Metcalf Mon 9-12 PM Contemporary application of traditional methods 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 students 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 proportion, 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 contemporary 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. DRW 0132

ADV. PROJECTS: DRAWING DIALOGUE Charles Goss Fri 9-12, 2-5 PM This course is for advanced students develop7

DRW 0162

ADVANCED DRAWING: MAKING SENSE Charles Goss Wed 2-5 PM

DRW 0193

DRAWING DIRECTED STUDY Ethan Murrow Tues 6-9 PM 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 progress, and develop mentorship between individual 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 student is 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 s/he will summarize 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 semester for a full hour. There may also be group meetings 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 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.

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. Examination 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 periods, 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 students will receive a letter grade.

DRW 0123

INTERMEDIATE FIGURE DRAWING: REAL PEOPLE Mara Metcalf Wed 9-12, 2-5 PM 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 figure drawing or painting classes.

PA I NTI N G PAI 0003

INTRODUCTION TO OIL PAINTING Angelina Gualdoni Wed 9-12, 2-5 PM Introduces practical information about the

PAI 0010

INTRO TO WATER, COLOR & PAPER Eva Lundsager Thurs 9-12, 2-5 PM This introductory painting class explores new and traditional approaches to image making, materials, and painting by thinking through watercolor, inks, and other water-based painting 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 independent work in a self-chosen direction. Examination of a wide range of techniques, image development, color, and light will be included. 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. PAI 0021

BEGINNING PAINTING (MEDFORD CAMPUS) David Antonio Cruz Wed 9-12 PM Although this is listed as a beginning course, 8

any students interested in studying painting through direct observation are welcome. Lectures and demonstrations provide practical information on a variety of materials and techniques; preparing canvases and panels, painting with oils using traditional underpainting and glazing, oil mediums, varnishes, fresco, egg tempera, and acrylics. Using a variety of stilllife material students will work on sequential drawing and painting exercises designed to introduce 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, students will set up and paint from their own stilllifes or pursue work based on personal imagery. Attendance required. PAI 0050

INTERMEDIATE PROJECTS Eva Lundsager Fri 9-12 PM Moving from beginning courses (where work is made in response to assignments) to developing a body of work with personal vision and expression is an important step in developing as a student and artist. This one-period course prepares students to move into the intermediate and advanced levels of instruction 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 emphasis on developing a strong working community through critique. Students should be prepared to spend a good deal of time working individually outside of class. Though this course is offered in the Painting Area, it is open to students wishing to work in other media as well.

PAI 0075

INTERMEDIATE STUDIO SEMINAR David Antonio Cruz Mon 9-12, 2-5 PM Bridge between project based basic courses and the independent work of Senior Thesis. Helps students develop a strong and committed studio based practice where they experience 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-motivated 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 semesters. 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. PAI 0120

ADV PAINTING: PICTURING THE ANTHROPOCENE Patte Loper Tue 2-5, 6-9 PM This studio/seminar course is designed to discuss social responsibility and ecological sustainability related to artistic practice. We will explore how systematic inequality and environmental degradation are intertwined, how artists contributed to these systems and how they have resisted them. We will begin by examining the artistâ&#x20AC;&#x2122;s historic role in picturing the natural environment, and their continued influence on the way society views our surroundings 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-

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. PAI 0130

ADV PAINTING: PAINTING SPACE Angelina Gualdoni Tue 2-5, 6-9 PM Studio class for advanced painters which provides 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 conceiving, 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. PAI 0151

INTERMEDIATE PAINTING & TECHNOLOGY Patte Loper Wed 9-12, 2-5 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 technologies 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 0155

ABLAB: INTERMEDIATE ABSTRACTION Karmimadeebora McMillan Thurs 2-5, 6-9 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 supplement working-in-class time. Recommended: An introductory level painting course, beginning oil painting, or the equivalent. PAI 0172

INTERMEDIATE PORTRAIT PAINTING: SUBJECT AND SUBJECTIVITY Ria Brodell Mon 9-12, 2-5 PM Contemporary portraiture offers a platform for exploration of subject, (the persons pictured) and subjectivity (the feeling, read, or take of the painter). Situating portraiture within 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 expression, 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. PAI 0193

PAINTING DIRECTED STUDY Angelina Gualdoni Wed 6-9 PM Student meets individually with a faculty member several times over the course of the se10

mester to critique work, assess progress, and develop mentorship between individual 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 student is 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 s/he will summarize 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 semester for a full hour. There may also be group meetings 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 another regarding the work of fellow students. Can be repeated once. Recommended: junior, senior, post-bac, or graduate standing. Required: Faculty permission required. Non-SMFA students and MAT Art Education students will receive a letter grade.

Print, Paper & Graphic Arts GR A PH I C A R T S GRA 0060

ORAL AND VISUAL STORYTELLING Laura Blacklow Thurs 10-1, 2-5 PM Learn how to compose penetrating questions, become an active listener, conduct relevant research, 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 canvases, 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. 11

GRA 0091

SPECIAL TOPICS: BOOK ARTS: CHAPTER 2 Anne Pelikan Tue 10-1 PM 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 techniques 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. GRA 0103

SOCIALLY ENGAGED ART Neda Moridpour Tue 9-12, 2-5 PM (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 between socially engaged art and cultural practices generated by recent social movements locally and globally. Provide knowledge about the history of this practice, technical support, assist with research, review artist projects, address recent strategies and examine the shift of socially engaged artists from “studio to situation” or “participant.” Multiple visiting artists 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 Studio for Social Intervention, etc. Open to students of all disciplines, with a basic knowledge of contemporary art history and Adobe software as well as an interest in art and social/political action. Level: Open to all levels. Non-SM-

FA students and MAT Art Education students will receive a letter grade. GRA 0108

SUBVERSIVE GRAPHICS: SOCIALLY ENGAGED WORK Chantal Zakari Fri 10-1, 2-5 PM In this seminar/studio class we will discuss the complexity of socially engaged art practices, and specifically look at graphics, printed ephemera, books and web based interventions used to activate a public. Looking at the recent 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 component 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 technical knowledge. GRA 0119

MEDIA CULTURE NOW Neda Moridpour Thurs 9-12, 2-5 PM 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 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, mobile 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 discussions 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. GRA 0193

DIRECTED STUDY Chantal Zakari Thurs, Fri 12-2 PM 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 possibilities are. Students will meet 4-5 times over the course of the semester and are expected to show progress each meeting. Open to students working in every discipline, especially on projects that involve text, type, graphics, photography, printing and publishing. Non-SMFA students and MAT Art Education students will receive a letter grade. GRA 0109

CODEX IN CONTEXT: SEMINAR Chantal Zakari Tue 9-12 PM 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 12

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.

PR I NT + PA PE R PRT 0106

PRINT/GRAPHICS SEMINAR Peter Scott

GRA 0110

CODEX IN CONTEXT: STUDIO Chantal Zakari Tue 2-5 PM This is the studio component of the seminar offered in the morning. Ideal for advanced level students who are ready to work on a longterm project that uses text and imagery in the form of a publication. Students may work in different formats and use a variety of approaches and processes, including: sculpture, photography, print-on-demand, zines, comics, RISO, screenprinting, and offset lithography. Our group sessions will include demos, critiques, 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.

Tue 2-5 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 contemporary 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 Boston Public Library, The Boston Athenaeum, Harvard’s Houghton Library and the Fogg/ Busch-Reisinger Museum – as well as conservation labs and other related venues. In addition to viewing and discussing selected work at these collections (related readings will be assigned), 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, previous SMFA studio experience in these media is not required. There will be a limited number of studio technical demonstrations and workshops. This seminar is intended for advanced level students. PRT 0110

INTENSIVE PRINT + PAPER WORKSHOP Peter Scott, Michelle Samour Thurs 9-12, 2-5 PM In this class, we will focus on integrating handmade paper with the printed image. We will look at a number of contemporary artists who are using repetition of material and imagery in their work including Kwang-Young Chun, Do-Ho Suh, Polly Apfelbaum, Ai Weiwei, Chuck Close, Mark Bradford, Allan McCul13

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. PRT 0114

MONOPRINTING Rhoda Rosenberg Fri 9-12, 2-5 PM 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 carborundum, plates, gum transfers, and chine collé. Students can develop an image through a related 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. PRT 0140

PRINT IN COLOR Carolyn Muskat Fri 9-12, 2-5 PM Color can serve descriptive, emotional and graphic purposes. Explore how color can be used to further conceptual ideas through projects, 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 considerations including color mixing, layering and registration issues will be introduced and practiced 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 0142

INTER/ADV SCREENPRINTING Jennifer Schmidt Wed 9-12 PM 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 screenprinting through experimentation with materials and presentation, and explore the use of the computer to create color separations in combination 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. PRT 0170

ETCHING AND INTAGLIO Peter Scott Wed 9-12, 2-5 PM Intaglio printing means printing ink from the incised 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 opportunities 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 applications: found objects, collagraph approaches, alternative plates (non-etched), collage, and monoprint techniques. Level: Open to all levels, no previous experience in print required. Non-SMFA students and MAT Art Education students will receive a letter grade.

PRT 0174

PRT 0193

WOODCUT/RELIEF PRINTMAKING

SPECIAL TOPICS: ZINES

John Schulz

Asuka Ohsawa

Mon 10-1, 2-5 PM

Woodcut facilitates direct, intuitive involvement, and allows for great flexibility in scale and approach - ranging from developing powerful images in black-and-white to building rich, painterly images in color. Emphasis on individual vision and approach to the medium. Covers technical information on wood, linoleum, and plastic blocks, ink, tools and tool maintenance, paper, printing with and without a press, color, and multi-block prints. Additional techniques introduced according to the needs and direction of the class. Non-SMFA students and MAT students will receive a letter grade.

Raw, unfiltered, and unapologetically personal, zines offer a creative forum for self- and collective- expressions in a way that no other mediums can. Through a series of assignments designed 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 observations 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 Adobe Photoshop preferred but not required. Non-SMFA students and MAT Art Education students will receive a letter grade.

PRT 0184

DRAWING/PRINTS: PRINTS/DRAWING

PRT 0198

John Schulz, Asuka Ohsawa

DIRECTED STUDY: PRINT MEDIA

Tue 10-1, 2-5 PM

Jennifer Schmidt

Focus on the intersection of the drawing’s direct 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, reproduced easily, and been key in dissemination of stories of human experience acros the 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.

Wed 2-5 PM 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-dimensionally. Non-SMFA students will receive a letter grade. PRT 0117

MAKING PAPER, MAKING BOOKS: COLLECTING AS AN ART-MAKING STRATEGY Jesseca Ferguson, Michelle Samour Wed 10-1, 2-5 PM Multi-level course explores the roles of scientists and artists in discovery and documentation. Historically, artists and naturalists partnered to collect and document the natural world through illustration, printmaking, specimen collection, and photography. Cyano-

type (blue-print), invented by an astronomer (1842), and popularized by a botanist (1843), is now embraced by 21st century artists. Students will make paper and study its history as essential to collection and documentation. Embedding materials within paper, printing cyanotype, or attaching specimens to finished sheets, enhances cataloguing possibilities (bound books, portfolios, scrolls). We will examine the work of 19th century naturalists and contemporary artists who investigate collecting as an art-making strategy.

mEdIA ArTS + PHOTOGrAPHY PH OTOGR A PH Y PHT 0109

MEDIA CULTURE NOW Neda Moridpour Thurs 9-12, 2-5 PM

PRT 0197

DIRECTED STUDY: PAPER Michelle Samour Thurs 6-9 PM This intermediate and advanced course is for students who want to pursue their individual work with focused faculty support. It is non-media specific with an emphasis on students 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 research 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 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, mobile 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 discussions 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. PHT 0111

INTRO TO DIGITAL PHOTOGRAPHY Laura Beth Reese Fri 9-12, 1-4 PM Introduces technique and theory of digital image making. Introduces students to digital cam16

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. Assignments, 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 ubiquitous. Engagement with histories of art and photography provides a platform to consider how photographs are produced, circulated, duplicated 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. PHT 0114

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 Wizards, basic lighting modifiers for small flashes and basic continuous lighting. Image projection, negative scanning, and digital printing; development 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 editing/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 permission of instructor.

William Burke

SOCIALLY ENGAGED ART

Thurs 9-12, 2-5 PM

Neda Moridpour

BLACK, WHITE, GRAY: ADV. PHOTO

Hands-on advanced studio class. Learn to see what a traditional fine black and white print can be, and gain confidence with the materials. After becoming adept at the traditional techniques, students are encouraged to expand and break the rules in a manner that is appropriate, or inappropriate to the nature of light, film, paper, chemistry. Individual conversations 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 students and MAT Art Education students will receive a letter grade. PHT 0118

INTERMEDIATE PHOTOGRAPHY Bonnie Donohue Mon 9-12, 2-5 PM Continued use of DSLR cameras, emphasis on operating manual settings (focus, aperture, shutter speed, ISO, white balance). Introduc17

PHT 0133

Tue 9-12, 2-5 PM (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 between socially engaged art and cultural practices generated by recent social movements locally and globally. Provide knowledge about the history of this practice, technical support, assist with research, review artist projects, address recent strategies and examine the shift of socially engaged artists from “studio to situation” or “participant.” Multiple visiting artists 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 Studio for Social Intervention, etc. Open to students of all disciplines, with a basic knowledge of contemporary art history and Adobe software as well as an interest in art and social/political action. Level: Open to all levels. Non-SMFA students and MAT Art Education students will receive a letter grade.

FLM 0155

SCENE & SPACE: FILM & PHOTO (MEDFORD CAMPUS) Jane Gillooly, Jeannie Simms Wed 1:30-6:30 PM This intermediate hybrid studio course in film/ video and photography focuses on creating and designing a set for still and moving image 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. PHT 0157

MAKING A PICTURE

PHT 0158

MAKING MORE OF A PICTURE Sandra Stark Fri 1-4 PM This intermediate hybrid/photography course is a deeper investigation of the concepts introduced 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 intervening in the space. The expectation is that in Making More of a Picture, students will develop 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 PHT0101, or by permission of the instructor. PHT 0150

Sandra Stark

PORTRAITURE & THE SELF (MEDFORD CAMPUS)

Thurs 9-12, 2-5 PM

Rachelle Mozman

Learning about photography from a concept-based or author-centric point of view. Breaking with the notion of “straight photography,” students will construct/plan their photographs, intervene in the space, construct still-lifes and larger environments, consider the veracity of photographs, and create things to be photographed. Emphasizes the intentionality 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 Photography” (differentiating it from photography as simply an objective, record-keeping process). Gaining particular popularity in the 1980’s at the height of Postmodernism, “making” practitioners today include Cindy Sherman, Gregory Crewdson, Lalla Essaydi, Paul Mpagi Sepuya, Mickalene Thomas and many others. Level: Open to all levels.

Thurs 10-4 PM This intermediate course will develop skill in portrait photography while discussing the connection and relationship of the photographer to subject as well as to their own unconscious. Through workshops we will explore making portrait photographs. Readings will be assigned that address our unconscious wishes likely reflected in the portrait photograph we make. Students will be expected to have a basic understanding of camera controls and introductory skill in digital imaging, such as experience in Photoshop and basic digital printing. Or by permission of the instructor.

PHT 0191

IMAGE, NARRATIVE, & PSYCHOANALYSIS Rachelle Mozman Wed 2-5, 6-9 PM Image, Narrative and Psychoanalysis will explore storytelling in connection to the role of our unconscious to symbolism and the imagery we make. We will reflect on the unconscious 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 personal and public. Readings, exercises, film presentations and the development of a final project will be the focus of this course. PHT 0191

SPECIAL TOPICS: DIRECTED STUDY: ART AND SOCIAL JUSTICE INTENSIVE Neda Moridpour Fri 9 - 1 PM (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 expand 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 receive 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 proposed. 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 progress 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 students. Directed Study is for advanced students 19

(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. PHT 0193

DIRECTED STUDY: PHOTOGRAPHY Rachelle Mozman Wed 12-2 PM Advanced class consisting of regular one-onone meetings between photography students and faculty mentors over the course of the semester to critique work and assess progress. Individual critique sessions deepen student understanding 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, quantifying expected output, topics of interest, project 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 artistâ&#x20AC;&#x2122;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. PHT 0198

BASIC LIGHTING Sandra Stark Mon 9-12, 2-5 PM 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 fundamental tool for any photographer. How lighting 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 ofÂ

photographs in order to understand the lighting sources used in their creation. Level: Beginning level.

ME DI A A R T S FLM 0108

ANIMATION 3

assigned weekly projects in moving image and will have the opportunity to experiment and develop a body of work in this medium. FLM 0136

ANIMATION 1 Gina Kamentsky Wed 9-12, 2-5 PM

Gina Kamentsky Tue 9-12, 2-5 PM 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, independently 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 applications 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 Animation Festival in the Fall Semester, and a field trip to a local studio in the Spring Semester. Prerequisite: Animation 2 FLM 0056. FLM 0124

INTRO TO MOVING IMAGE Nicholas Brynolfson Mon 9-12, 2-5 PM This beginner level studio class will introduce students to the conceptual and practical aspects 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

Through in-class exercises, demos, screenings, and visiting artists, you will learn various techniques 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 designed to give you a deeper understanding of Animation as an art form of personal expression, and the various ways Animation is both viewed and used throughout the world; traditional narratives to poetic/abstract non-narratives to interaction to installation. Most assignments will be worked on in class using both film and computer-video equipment. No previous experience required, just an open mind. FLM 0138

ANIMATION INTEGRATION Maya Erdelyi-Perez Fri 9-12, 2-5 PM This course is designed for students who specialize in another area to reimagine/recontextualize their work frame-by-frame through animation. Students will be introduced to a wide variety of animation techniques with special attention given to their multimedia possibilities. Students working in film, sculpture, painting, 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 students who don’t see themselves becoming animators 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 alternative methods of presentation. Class time will 20

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. FLM 0160

DRAWING FOR ANIMATION Maya Erdelyi-Perez Thurs 9-12, 2-5 PM Drawing for Animation will build drawn animation skills through in-class exercises and related 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 blurring, 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 exemplary animation. GIFS, and methods of integrating illustration and digital drawing formats will also be included. A wide range of independent animated films are screened to demonstrate different techniques and approaches. FLM 0172

DIRECTED STUDY: MEDIA ARTS Mary Ellen Strom Tue 6-9 PM Advanced class consisting of regular one-onone 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 understanding of their artwork, creative process, and work method. Students must present a statement of intent, quantifying expected output, topics of interest, project development or a statement of goals at the first meeting. At the end of the semester, students must summarize work, likely in the form of an artistâ&#x20AC;&#x2122;s statement. Possible group meetings to discuss 21

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. FLM 0191

SPECIAL TOPICS: FILM/VIDEO ESSAY: BETWEEN POEM & DOCUMENTARY Nate Harrison Wed 2-5 PM Hybrid studio/seminar focusing on durational art forms of film, video, animation, or sound. Helps students in media arts focus their research and inspire their practices by examining 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 development of the moving image, artists have adopted the essay form to extend cultural analyses into the audiovisual domain. Located between a poem and a documentary, the film/video essay 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 video and audio recording and editing required. Non-SMFA students will receive a letter grade. FLM 0155

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. SND 0038

INTRODUCTION TO SOUND Andrew Hlynsky Wed 9-12, 1-4 PM This beginning course explores the medium of sound and the ways in which visual artists have incorporated it into their practice. While covering separate “sound art” categories and then creating 3 assignments from them, you will explore 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 developing a strong tool set for working within the medium. For individuals involved in multimedia work who desire a basic knowledge of working with audio. No experience is necessary. SND 0150

HANDMADE SOUNDS & TICKLING CIRCUITS Andrew Hlynsky Thurs 9-12, 1-4 PM A beginning level analog sound course about tickling circuits and making them laugh. Students build sound making oscillators, and circuit bend toys to create otherworldly aural 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 proto-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. VID 0004-01

VIDEO I (MEDFORD CAMPUS) Anja DuBois Tues 1:30-6:30 PM 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 current 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, installation, 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. VID 0004-02

VIDEO I STAFF

Thurs 9-12, 2-5 PM 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 current 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, installation, performance, and Internet projects. 22

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. VID 0105

VIDEO II Mary Ellen Strom Tue 9-12, 2-5 PM A course for experienced video students to improve upon skills useful for creating advanced video projects. The emphasis will be the intersection of narrative and video art. Attention 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 music / sound and video, vernacular video (social media), and fine art. Prerequisite: Video 1, Intro to the Moving Image, or equivalency. NonSMFA students and MAT Art Education students will receive a letter grade.

VisUal and Material stUdies, English &EDUcation VISUAL AND MATERIAL STUDIES VMS 0001

INTRO TO VISUAL AND MATERIAL STUDIES Tina Wasserman, Emily Gephart Fri 10-12:30 PM Introductory interdisciplinary seminar on visual 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 – iconoclasm, modernism, Marxism, feminism, environmentalism, anti-imperialism, and post-structuralism. 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 continue to resonate today. All texts studied in light of historical and contemporary artistic and pop cultural productions. VMS 0025

INTRO TO CONTEMPORARY SCULPTURE Silvia Bottinelli Tue 9 -11:30 AM

This class discusses the work of one sculptor per week. Our case studies are: Claes Oldenburg, Sol Lewitt, Eva Hesse, Niki De Saint Phalle, Joseph Beuys, Tony Cragg, Jessica Stockholder, Doris Salcedo, Yinka Shonibare, Do-Ho-Suh. We will look at the different phases of the artists’ body of work, which will be contextualized historically and theoretically. Students will

analyze different types of sources (artist statements, 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 secondary sources, and refer to these sources as evidence in writing projects. VMS 0026

SCULPTURE IN SITE Silvia Bottinelli Thurs 9-11:30 PM Installation, site-specific sculpture, and public art since 1960, offering insight into the relationship between the work of art and the environment in which it is installed. Place-making, addressing issues of inclusivity, representation, and public reception of monuments and memorials, public art, art and activism, social sculpture, and examples of community-based sculpture projects. VMS 0100

HISTORY & AESTHETICS IN HITCHCOCK Tina Wasserman Thurs 1:30 - 4 PM

VMS 0101

NEO-NOIR AND ITS CONTEXTS Tina Wasserman Fri 1:30 - 4 PM This course will introduce the student to a group of historic American films produced between 1941 and 1958 that are often identified 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 preoccupations 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, Chanwook Park, the Coen Brothers and more will be considered. VMS 0124

PICTURING THE BODY POLITIC Emily Gephart Wed 2- 4:30 PM

(cross listed as FMS 73) This course will provide the student with an overview of the cinematic work of Alfred Hitchcock. Using critical, psychoanalytic and feminist film theory we will investigate the various historic, aesthetic, thematic and formal concerns threaded throughout his film work. In our study we will examine his skillful narrative coding of the suspense thriller using point-of-view/spectator identification techniques, his powerful but often disturbing representation of women, the patterns of looking and voyeurism inscribed in his work and much more.

This course examines the major movements, historical events and cultural influences shaping the visual cultures of the United States, as artists explored selfhood and a developing national identity through imagery. Although we will embrace the ‘fine arts,’ our investigation exceeds their traditional limits: we will investigate how Americans established models of the ‘body politic’ via caricature and illustration, performance, photography, advertisements and other emerging mass media.

VMS 0128

FOOD AS SCULPTURE SINCE 1960 (MEDFORD CAMPUS)

E N GLISH ENGS 0002-01 / 02 / 03 / 04

ENGLISH II

Silvia Bottinelli

Cheryl Allison

Fri 10:30 -1 PM

Mon & Wed 6 - 7:15 PM

(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 incorporation of food in New Realists ready mades; food as edible material for three dimensional work; ingestion, food and the body in sculptural and performative pieces; feminist installation art and references to the kitchen; artist restaurants, food and counterculture; food decay in sculptural works, as a signifier of time or trigger 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 phenomenological experience of taste; memory and everyday foods; identity politics; and relational aesthetics. The list of artists discussed includes: Claes Oldenburg; Carolee Schneemann; Hannah Wilke; Janine Antoni; Robin Weltsch and Vicki Hodgetts; Gordon Matta Clark; Allen Ruppersberg; Paul McCarthy; Joseph Beuys; Rirkrit Tiravanija; Andi Sutton; and Michael Rakovitz. The class features two small group discussion sessions with scientists at the Human Nutrition Research Center on Aging in Chinatown to consider the possible intersections of food-based art and nutrition science. We will also develop a final community-based project

Mon & Wed 7:30 - 8:45 PM

Cheryl Allison Adam Spellmire Tues & Thurs 12:30 -1:45 PM Adam Spellmire Tues & Thurs 6 - 7:15 PM Composition course with primary emphasis designed to provide a foundation on student’s own writing. Choice of topics drawing on various materials including fiction, essays, films and other visual and aural texts in an interdisciplinary manner. Prerequisite: English 1 or 3.

A R T E DUC ATI ON EDS 0122

ART EDUCATION WITH SPECIAL POPULATIONS Katharine J Furst Mon 5:30-8:30 PM Art Education with Special Populations considers 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 anthropology. Field observations to art education sites that care for and educate special populations will inform reflective discussion and curriculum 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 questions such as: What counts as art? Who counts as artist? and What counts as knowledge?

GRad cRitiqUes, SeniOR Thesis +Internships GR A D CR ITIQUE S SMFA 0203-01 / 02 / 03

GRAD GROUP CRITIQUE Mary Ellen Strom Wed 6-9 PM Jennifer Schmidt Tue 6-9 PM Danielle Abrams Tue 6-9 PM This course is designed to build and develop the verbal and written articulation critique skills among the first and second year graduate students in a group setting facilitated by a faculty member. Critique is an essential skill for students to develop. Graduate Group Critique 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 concerns investigated and addressed through each individual studentâ&#x20AC;&#x2122;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. SMFA 0205

GRAD INDIVIDUAL CRITIQUES Jeannie Simms Mon 2-5 This course invites second-year grad students to meet individually with faculty over the length of the semester. The one-on-one meetings will assist students in the development

of their personal projects through a series of rigorous conversations scheduled according to the scope of the studentâ&#x20AC;&#x2122;s needs. Students will take this course for credit as an alternative to the grad group critique.

SE N I OR THE SIS SMFA 0093

SENIOR THESIS PROGRAM Ria Brodell, Kendall Reiss, Willoughby Hastings Fri 9-12, 2-5 PM Senior Thesis provides a platform for the development of an ongoing independent art practice. The program spans two continuous semesters, constructing a year-long trajectory of research, writing, art-making and career-building centered around critiques with program faculty, visiting artists, and arts professionals. Students are challenged to explore their own individual interests and practices, within the context of a group of peers and faculty, towards the goal of developing a coherent project. Independent studio work is required throughout the year, and students should expect to spend at least 6-12 additional hours per week both working in the studio and attending 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 critiques and discussions; small group interactions with peers in reading circles, roundtables, and working groups; whole program group meetings, 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-making 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 26

semester culminates in the Senior Thesis Exhibition, towards which students are required to work in planning, development, marketing, catalogue development, as well as building and installation of the exhibition.

I NTE R NSH I PS SMFA 0070

UNDERGRADUATE INTERNSHIP Ryan Smith Internships for Studio Credit are an important 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 guidance along the way. Interns also participate in a two-part evaluation process, documenting rigorous self-reflection that advances professional 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 Directors. 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 Director 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 for Studio Credit are an important 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 guidance along the way. Interns also participate in a two-part evaluation process, documenting rigorous self-reflection that advances professional 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 Directors. 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 Director 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.

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VISUAL AND MATERIAL STUDIES, ENGLISH & EDUCATION School of the Museum of Fine Arts at Tufts University 230 The Fenway Boston, MA 02115

DRAWING + ERUTPLUCS + PAINTING

ECNAMROFREP + G N I WA R D G N I T N I AP

PRINT, PAPER & GRAPHIC ARTS

+ R E P AP ,T N I R P S TR A C I H P A R G

SCULPTURE + PERFORMANCE

GRAD CRITIQUES, SENIOR THESIS & INTERNSHIPS

MEDIA+ ARTS + A AIDEM S TR PHOTOGRAPHY YHPARGOTOHP

DNA LAUSIV LACITIRC + SEIDUTS HSILGNE DARG ,SEUQITIRC + SISEHT ROINES NOITACUDE