Architecture and Design Studies

Images wavered in the sunlit trim of appliances, something always moving, a brightness flying, so much to know in the world.—Don Delillo, Libra

A few cartoons lead to cataclysmic events in Europe. A photograph printed in a newspaper moves a solitary reader. A snapshot posted on the internet leads to dreams of fanciful places. Memories of a past year haunt us like ghosts. What each of these occurrences has in common is that they all entail the force of images in our lives, whether these images are visual or acoustic in nature, made by hand or machine, circulated by word of mouth, or simply imagined. In this seminar, we will consider the role that images play in the lives of people in various settings throughout the world. In delving into terrains at once actual and virtual, we will develop an understanding of how people throughout the world create, use, circulate, and perceive images and how such efforts tie into ideas and practices of sensory perception, time, memory, affect, imagination, sociality, history, politics, and personal and collective imaginings. Through these engagements, we will reflect on the fundamental human need for images, the complicated politics and ethics of images, aesthetic and cultural sensibilities, dynamics of time and memory, the intricate play between the actual and the imagined, and the circulation of digital images in an age of globalization. Readings will include a number of writings in anthropology, art history, philosophy, psychology, cultural studies, and critical theory. Images will be drawn from photographs, paintings, sculptures, drawings, films, videos, graffiti, religion, rituals, tattoos, inscriptions, novels, poems, road signs, advertisements, dreams, fantasies, phantasms, and any number of fabulations in the worlds in which we live and imagine.

Transnational migration, human-animal relations, and American community life are but a few of the cultural realities that anthropologists have effectively studied and written about. This is no easy task, given the substantial difficulties involved in understanding and portraying the concerns, activities, and lifeworlds other than one’s own. Despite these challenges, ethnographic writing is generally considered one of the best ways to convey a nuanced and contextually rich understanding of people’s experiences in life. To gain an informed sense of the methods, challenges, and benefits of ethnographic writing, students in this course will try their hands at a concerted work of ethnographic writing. Along with undertaking a series of ethnographic writing exercises, students will be encouraged to craft a fully-realized piece of ethnographic writing that conveys something of the features and dynamics of a particular world in lively, accurate, and comprehensive terms. Along the way, and with the help of anthropological writings that are either exceptional or experimental in nature, we will collectively think through some of the most important features of the craft of ethnographic writing from the use of field notes and interviews, the interlacing of theory and data, the author’s voice in ethnographic prose, and the ethical and political responsibilities that come with any attempt to understand and portray the lives of others. This seminar will work best for students who already have a rich body of ethnographic research materials to work with, such that they can quickly delve into the intricacies of writing about their chosen subject.

This course looks at the shifting role of monuments in Western culture, from a public representation of the values of dominant culture to one that challenges what Kara Walker calls the “monumental misrememberings” attendant to most historical monuments. We will investigate the role that monuments play in forming—and disrupting—the stories that we tell ourselves about history. Attending to narratives of both domination and minoritization and foregrounding work by Black, Indigenous, and queer artists, this course reaches across continents and back centuries and will involve a field trip to experience monumental forms in and around the City of New York.

This course explores the powerful architecture, sculpture, and painting styles that lie at the heart of the creation of Europe and the idea of the West. We will use a number of strategies to explore how expressive narrative painting and sculpture and new monumental architectural styles were engaged in the formation of a common European identity and uncover, as well, the artistic vestiges of diverse groups and cultures that challenge that uniform vision. These are arts that chronicle deep social struggles between classes, intense devotion through pilgrimage, the rise of cities and universities, and movements that could both advocate genocide and nurture enormous creativity—in styles both flamboyant and austere—growing from places as diverse as castles and rural monasteries to Gothic cathedrals. The course will explore those aspects of expressive visual language that link works of art to social history, the history of ideas, and political ideology.

The visual arts and architecture constitute a central part of human expression and experience, and both grow from and influence our lives in profound ways that we might not consciously acknowledge. In this course, we will explore intersections between the visual arts and cultural, political, and social history. The goal is to teach students to deal critically with works of art, using the methods and some of the theories of the discipline of art history. This course is not a survey but, rather, will have as its subject a limited number of artists and works of art and architecture that students will learn about in depth through formal analysis, readings, discussion, research, and debate. We will endeavor to understand each work from the point of view of its creators and patrons and by following the work's changing reception by audiences throughout time. To accomplish this, we will need to be able to understand some of the languages of art. The course, then, is also a course in visual literacy—the craft of reading and interpreting visual images on their own terms. We will also discuss a number of issues of contemporary concern; for instance, the destruction of art, free speech and respect of religion, the art market, and the museum. Students will be asked to schedule time on weekends to travel to Manhattan on their own or in the College van to do assignments at various museums in New York. You will need to leave several hours for each of these visits and will keep a notebook of comments and drawings of works of art.

In this course, we will trace the history of Paris from its foundation until World War I, working from the visual arts that both defined and emanated from this remarkable city. We will explore works of art, architecture, and urban design as documents of history, of social and cultural values, and of the history of ideas. Our readings and discussions will lead us to interactions between the arts and the history, fashion, religion, science, and literature of Paris. Student projects will chart these relationships graphically and construct, in both individual and group projects, a cultural history of Paris from Roman Lutetia to the City of Lights.

This course focuses on works of art, buildings, and monuments created and commissioned by people living in diverse areas of North Africa, West Asia, and Europe that either became part of the Roman Empire or were located along its vast frontier. We will explore and challenge traditional categories, such as “Roman” and “provincial” art/architecture. Key questions to consider include the following: How were individuals’/communities’ personal, civic, and religious identities expressed in art/architecture that was influenced by interaction with Roman culture broadly but also highly localized? The course will also include a component focused on the contemporary situation at sites including Palmyra in Syria, which has suffered extensive recent destruction, and related heritage preservation initiatives.

This course will examine the fundamentals of design and how to both think compositionally and work collaboratively as an artist. The medium of light will be used to explore the relationship of art, technology, and movement. Discussion and experimentation will reveal how light defines and shapes an environment. Students will learn a vocabulary to speak about light and to express their artistic ideas. Through hands-on experience, students will practice installing, programming, and operating lighting fixtures and consoles. The artistic and technical skills that they build will then be demonstrated together by creating original lighting designs for the works developed in the Live Time-Based Art course.

In the middle of the 20th century, only 16 percent of Europeans lived in cities. On the eve of the World War I, that number had roughly doubled. In Western Europe, already half of the population was urban. Though many of those cities were small, with fewer than 20,000 inhabitants, the European metropoles grew, too. By 1910 in Germany, for example, 21 percent lived in cities over the size of 100,000 inhabitants—up from only five percent in 1871. Berlin, Paris, London, St Petersburg, and Vienna all had several million citizens. This urbanization shaped, and was shaped by, European history. Industrialization and advances in agriculture, sanitation, and transportation played a vital role in this process. Wars and Europe’s changing borders shaped cities’ fate. Imperialism imposed European models of urban development on colonized societies and, in turn, brought imperial subjects to the metropole. Much of what we today think of as modern originated in cities. They often set political and cultural trends. The “Roaring Twenties” and the student movements of 1968 were fundamentally urban phenomena. Yet, precisely for this reason, cities also inspired vitriol and opposition—from nationalist back-to-nature advocates afraid of the negative consequences of their “cosmopolitan nature” to health care professionals worried by their detrimental effects on their inhabitants’ health. Joseph Goebbels, Hitler’s chief propagandist, railed against “Jewish Berlin.” To this day, conservative French politicians extol “la France profonde,” the true France to be found in its provincial towns rather than in Paris, Lyon, or Marseille. Through the lens of the city, this course investigates major developments in modern European history—from the birth of mass politics and the effects imperialism, to World War I and II, to the emergence of modernist art and environmentalism. Students will not only be introduced to European history but also to the historian’s craft. They will work with a variety of primary sources—from government documents to literature, from movies to propaganda speeches, from city maps to diary entries. In addition, they will learn to read secondary sources and analyze historiographical arguments. During the fall semester, students will have an individual conference with their don every other week and a group conference on alternating weeks. In the group conferences, we will discuss the nature of academic work in general and practice research, reading, writing, and editing skill; we will also, on occasion, use the time for movie screenings related to the course. In the spring semester, students will have individual conferences every other week.

Rarely is a quantity of interest—tomorrow’s temperature, unemployment rates across Europe, the cost of a spring-break flight to Fort Lauderdale—a simple function of just one primary variable. Reality, for better or worse, is mathematically multivariable. This course introduces an array of topics and tools used in the mathematical analysis of multivariable functions. The intertwined theories of vectors, matrices, and differential equations and their applications will be the central themes of exploration in this yearlong course. Specific topics to be covered include the algebra and geometry of vectors in two, three, and higher dimensions; dot and cross products and their applications; equations of lines and planes in higher dimensions; solutions to systems of linear equations, using Gaussian elimination; theory and applications of determinants, inverses, and eigenvectors; volumes of three-dimensional solids via integration; spherical and cylindrical coordinate systems; and methods of visualizing and constructing solutions to differential equations of various types. Conference work will involve an investigation of some mathematically-themed subject of the student’s choosing.

Our existence lies in a perpetual state of change. An apple falls from a tree; clouds move across expansive farmland, blocking out the sun for days; meanwhile, satellites zip around the Earth, transmitting and receiving signals to our cell phones. The calculus was invented to develop a language to accurately describe and study the changes that we see. Ancient Greeks began a detailed study of change but were scared to wrestle with the infinite; so, it was not until the 17th century that Isaac Newton and Gottfried Leibniz, among others, tamed the infinite and gave birth to this extremely successful branch of mathematics. Though just a few hundred years old, the calculus has become an indispensable research tool in both the natural and social sciences. Our study begins with the central concept of the limit and proceeds to explore the dual topics of differentiation and integration. Numerous applications of the theory will be examined. For conference work, students may choose to undertake a deeper investigation of a single topic or application of the calculus or conduct a study in some other branch of mathematics. This seminar is intended for students interested in advanced study in mathematics or science, students preparing for careers in the health sciences or engineering, and any student wishing to broaden and enrich the life of the mind.

This course continues the thread of mathematical inquiry, following an initial study of the dual topics of differentiation and integration (see Calculus I course description). Topics to be explored in this course include the calculus of exponential and logarithmic functions, applications of integration theory to geometry, alternative coordinate systems, infinite series, and power series representations of functions. For conference work, students may choose to undertake a deeper investigation of a single topic or application of the calculus or conduct a study of some other mathematically-related topic, including artistic projects. This seminar is intended for students interested in advanced study in mathematics or science, preparing for careers in the health sciences or engineering, or simply wishing to broaden and enrich the life of the mind.

This course continues the thread of mathematical inquiry, following an initial study of the dual topics of differentiation and integration (see Calculus I course description). Topics to be explored in this course include the calculus of exponential and logarithmic functions, applications of integration theory to geometry, alternative coordinate systems, infinite series, and power series representations of functions. For conference work, students may choose to undertake a deeper investigation of a single topic or application of the calculus or conduct a study of some other mathematically-related topic, including artistic projects. This seminar is intended for students interested in advanced study in mathematics or science, preparing for careers in the health sciences or engineering, or simply wishing to broaden and enrich the life of the mind.

Calculus-based general physics is a standard course at most institutions; as such, this course will prepare you for more advanced work in the physical science, engineering, or health fields. The course will cover introductory classical mechanics, including kinematics, dynamics, momentum, energy, and gravity. Emphasis will be placed on scientific skills, including: problem-solving, development of physical intuition, scientific communication, use of technology, and development and execution of experiments. The best way to develop scientific skills is to practice the scientific process. We will focus on learning physics through discovering, testing, analyzing, and applying fundamental physics concepts in an interactive classroom, as well as in weekly laboratory meetings.

Calculus-based general physics is a standard course at most institutions; as such, this course will prepare you for more advanced work in the physical science, engineering, or health fields. The course will cover waves, geometric and wave optics, electrostatics, magnetostatics, and electrodynamics. We will use the exploration of the particle and wave properties of light to bookend our discussions and, ultimately, finish our exploration of classical physics with the hints of its incompleteness. Emphasis will be placed on scientific skills, including problem-solving, development of physical intuition, scientific communication, use of technology, and development and execution of experiments. The best way to develop scientific skills is to practice the scientific process. We will focus on learning physics through discovering, testing, analyzing, and applying fundamental physics concepts in an interactive classroom, as well as in weekly laboratory meetings.

The perceiving mind is an incarnated mind. —Maurice Merleau-Ponty, 1964

Sensory perception is a vital component of the creation and experience of artistic works of all types. In psychology and neuroscience, the investigation of sensory systems has been foundational for our developing understanding of brains, minds, and bodies. Recent work in brain science has moved us beyond the Aristotelian notion of five discrete senses to a view of the senses as more various and interconnected—with each other and with the fundamental psychological processes of perception, attention, emotion, memory, imagination, and judgment. What we call “taste” is a multisensory construction of “flavor” that relies heavily on smell, vision, and touch (mouth feel); “vision” refers to a set of semi-independent streams that specialize in the processing of color, object identity, or spatial layout and movement; “touch” encompasses a complex system of responses to different types of contact with the largest sensory organ—the skin; and “hearing” includes aspects of perception that are thought to be quintessentially human—music and language. Many other sensations are not covered by the standard five: the sense of balance, of body position (proprioception), feelings of pain arising from within the body, and feelings of heat or cold. Perceptual psychologists have suggested that the total count is closer to 17 than five. We will investigate all of these senses, their interactions with each other and their intimate relationships with human emotion, memory, and imagination. Some of the questions that we will address are: Why are smells such potent memory triggers? What can visual art tell us about how the brain works, and vice versa? Why is a caregiver’s touch so vital for psychological development? Why do foods that taste sublime to some people evoke feelings of disgust in others? Do humans have a poor sense of smell? Why does the word “feeling” refer to both bodily sensations and emotions? What makes a song “catchy” or “sticky”? Can humans learn to echolocate like bats? What is the role of body perception in mindfulness meditation? This is a good course for artists who like to think about science and for scientists with a feeling for art. This is a collaborative course, with small-group meetings held weekly in addition to the individual conference meetings held every other week. The main small-group collaborative activity is a sensory lab in which students will have the opportunity to explore their own sensory perceptions in a systematic way, investigating how they relate to language, memory, and emotion. Other group activities include mindful movement and other meditation practices for stress relief and emotional regulation, as well as occasional museum visits if these can be done safely.

Seeing comes before words. The child looks and recognizes before it can speak. —John Berger

Psychologists and neuroscientists have long been interested in measuring and explaining the phenomena of visual perception. In this course, we will study how the visual brain encodes basic aspects of perception—such as color, form, depth, motion, shape, and space—and how they are organized into coherent percepts, or gestalts. Our main goal will be to explore how the study of visual neuroscience and art can inform each other. One of our guides in these explorations will be the groundbreaking gestalt psychologist Rudolf Arnheim, who was a pioneer in the psychology of art. The more recent and equally innovative text by the neuroscientist Eric Kandel, Reductionism in Art and Brain Science, will provide our entry into the subject of neuroaesthetics. Throughout our visual journey, we will seek connections between perceptual phenomena and what is known about brain processing of visual information. This is a course for people who enjoy reflecting on why we see things as we do. It should hold particular interest for students of the visual arts who are curious about scientific explanations of the phenomena that they explore in their art, as well as students of the brain who want to study an application of visual neuroscience. The course format is a small lecture (30 people), with one lecture and one small seminar (10 people) every week.

Children’s books are an important bridge between adults and the world of children. What makes a children’s book attractive and developmentally appropriate for a child of a particular age? What is important to children as they read or listen? How do children become readers? How do picture-book illustrations complement the words? How can children’s books portray the uniqueness of a particular culture or subculture, allowing those within to see their experience reflected in books and those outside to gain insight into the lives of others? To what extent can books transcend the particularities of a given period and place? Course readings include writings about child development, works about children’s literature, and, most centrally, children’s books themselves—picture books, fairy tales, and novels for children. Class emphasis will be on books for children up to the age of about 12. Among our children’s book authors will be Margaret Wise Brown, C. S. Lewis, Katherine Paterson, Maurice Sendak, Matt de la Pena, Christopher Paul Curtis, E. B. White, and Vera B. Williams. Many different kinds of conference projects are appropriate for this course. In past years, for example, students have written original work for children (sometimes illustrating it, as well), traced a theme in children’s books, worked with children (and their books) in fieldwork and service-learning settings, explored children’s books that illuminate particular racial or ethnic experiences, or examined books that capture the challenge of various disabilities. At the end of each class session, we will have storytime, during which two students will share childhood favorites.

In April 2014, the residents of Flint, Michigan, noticed something was wrong with their water. Residents of the predominantly Black city reported discolored, putrid water that produced skin rashes and even hair loss. While city officials insisted that residents had nothing to be concerned about, further testing revealed high levels of lead and bacteria, the effects of which we will see for generations to come. Flint, Michigan, reignited a national conversation about the relationship of our physical environment, race, and social (dis)ability in the United States. These themes will be central to this yearlong lecture, which investigates several questions: What is the relationship between the physical environment and our bodies? How does environmental policy affect and produce social disabilities? How do built environments shape experiences of disabilities? We will discuss these questions using both historical and contemporary lenses. Our analysis begins with an exploration of the United States’ history of imperialism, segregation, and redlining to investigate how these endeavors have shaped its natural and built environment. We will then examine how the ghosts of these histories shape contemporary environmental policies and to what degree this legacy has produced different forms of social disability. Throughout these discussions, we will attend to several themes, including: how racial hierarchies shape environmental injustice, how our built environments both produce and shape experiences of marginalization, and how those experiences are addressed by communities of color and environmental justice movements. Throughout the year, group conferences will help students build and strengthen methodological skills. In the fall, students are expected to submit a research proposal, including: a topic related to an environmental issue of interest, corresponding research questions, and a review of relevant literature. In the spring, students will use their proposals to build a research portfolio that empirically and theoretically explores their topic. Portfolios should include an analysis of descriptive statistics, qualitative data of the student’s choosing, and an essay connecting findings to the lecture’s theoretical discussions.

Using US-based artist Sarah Sze’s remark, “Great protests are great art works,” as its inspiration, this seminar explores the relationship between art, collective ideas, and social change within the context of social movements. We begin by discussing the relationship between aesthetics and the social sciences, focusing on a sociological notion of art as a collective and inherently social process. Our study includes the work of social theorists Antonio Gramsci, Pierre Bourdieu, and Theodor Adorno, whose works not only illuminate how public culture communicates collective ideas but also how the latter is imbricated with existing power structures and social hierarchies. These critical frameworks will help us investigate the modern art world, exploring how artistic institutions and movements are sites that both perpetuate and resist authoritative ideologies. In the second half of the semester, students will use these frameworks to explore the role of culture and art within collective social movements. We will investigate several questions, including: What defines a social movement and what social conditions produce social movements? How are art and aesthetics used within social movements to communicate ideas and strengthen communities? In what ways do movements deploy art as a form of social resistance or authority? Our discussions will particularly attend to grassroots movements within historically marginalized communities. Throughout the semester, students will also learn about the benefits of visual methodologies and how social scholars use them to understand collective culture and social change. For conference, students will select a specific social movement, exploring how art is deployed within the movement for collective resistance or control. Possible topics include (but are not limited to) critical analysis of an artistic institution, comparative analysis of how different contexts of resistance deploy shared artistic mediums, or the use of art within a given movement over time. While class discussions will primarily focus on the United States, students are also invited to explore the relationship between art and social movements in other social locations.

In April 2014, the residents of Flint, Michigan, noticed that something was wrong with their water. Residents of the predominantly Black city reported discolored, putrid water that produced skin rashes and even hair loss. While city officials insisted that residents had nothing to be concerned about, further testing revealed high levels of lead and bacteria, the effects of which we will see for generations to come. Flint, Michigan, reignited a national conversation about the relationship between our physical environment, race, and social (dis)ability in the United States. These themes will be central to this yearlong lecture, which investigate several questions: What is the relationship between the physical environment and our bodies? How does environmental policy affect and produce social disabilities? How do built environments shape experiences of disabilities? We will discuss these questions using both historical and contemporary lenses. Our analysis begins with an exploration of the United States’ history of imperialism, segregation, and redlining to investigate how these endeavors have shaped its natural and built environment. We will then examine how the ghosts of these histories shape contemporary environmental policies and to what degree this legacy has produced different forms of social disability. Throughout these discussions, we will attend to several themes, including how racial hierarchies shape environmental injustice, how our built environments both produce and shape experiences of marginalization, and how those experiences are addressed by communities of color and environmental justice movements. Throughout the year, group conferences will help students build and strengthen methodological skills. In the fall, students are expected to submit a research proposal, including a topic related to an environmental issue of interest, corresponding research questions, and a review of relevant literature. In the spring, students will use their proposals to build a research portfolio that empirically and theoretically explores their topic. Portfolios should include an analysis of descriptive statistics, qualitative data of the student’s choosing, and an essay connecting findings to the lecture’s theoretical discussions.

Using US-based artist Sarah Sze’s remark, “Great protests are great art works,” as its inspiration, this seminar explores the relationship between art, collective ideas, and social change within the context of social movements. We begin by discussing the relationship between aesthetics and the social sciences, focusing on a sociological notion of art as a collective and inherently social process. Our study includes the work of social theorists Antonio Gramsci, Pierre Bourdieu, and Theodor Adorno, whose works not only illuminate how public culture communicates collective ideas but also how the latter is imbricated with existing power structures and social hierarchies. These critical frameworks will help us investigate the modern art world, exploring how artistic institutions and movements are sites that both perpetuate and resist authoritative ideologies. In the second half of the semester, students will use these frameworks to explore the role of culture and art within collective social movements. We will investigate several questions, including: What defines a social movement and what social conditions produce social movements? How are art and aesthetics used within social movements to communicate ideas and strengthen communities? In what ways do movements deploy art as a form of social resistance or authority? Our discussions will particularly attend to grassroots movements within historically marginalized communities. Throughout the semester, students will also learn about the benefits of visual methodologies and how social scholars use them to understand collective culture and social change. For conference, students will select a specific social movement, exploring how art is deployed within the movement for collective resistance or control. Possible topics include (but are not limited to) critical analysis of an artistic institution, comparative analysis of how different contexts of resistance deploy shared artistic mediums, or the use of art within a given movement over time. While class discussions will primarily focus on the United States, students are also invited to explore the relationship between art and social movements in other social locations.

Defined by Ignacio Sola Morales as land in its exploitable state, urban voids have been a topic of discussion for quite some time. This course aims to reexamine the notion of the void not as land ripe for building real estate capital but, rather, as space for cultural expression. Students are given a list of different voids—infrastructural areas, parks, empty/unused buildings, and land that has transformed many times over with histories of erasure and dispossession. Exercises include visual representation via an exegetic collage of the assigned void. What are the colors of the voids? Do these colors and textures differ from their context? The project then would be to design an intervention as a response to the context of the chosen void. What does the context need? Who is it for, and why? Responses could interface with political, economic, and social concerns with the varying matter on our planet but also with an underlying conceptual underpinning of their interconnectedness of site, land, and the collective.

Work/labor are directly connected and drive reasoning for producing more commodities, people, and even art—extending our livelihoods further into the future. Leisure is a vital part of a system where labor is extracted from society and, in turn, yearns for time away from work or something in return. Some tensions lie in the decision-making process of wanting time from work and the rewards of that work that generate paradoxical circumstances. Workers give their labor and, in return, earn a conditioned status that is sought after and that perpetually feeds this cycle. The course looks at work typologies embedded within their leisure and the amenities used as a tool for greater work output. A question arises regarding the work/life vs. work/leisure paradigm and the blurred line between them. Counter examples include the festival as a site of leisure, the home, and more sites that function as a release for work—but is work still happening on these sites? Through drawing, collage, and mapping, students will identify the experiences in these spaces, how they function with or against the norms of society, and where the future of these spaces linked to “play” symbolizes for them. What aspects of leisure are necessity vs. desire, and what is the role of aesthetics in these places?

By adopting creative reuse strategies in art-making practices, we can transform everyday objects, remnants, and trash into treasures. When researching a common object’s history, its use, circulation, and disposal, we see the devastating consequences of extractive practices and overconsumption on our planetary health. How can we, instead, use our junk and leftover scraps to hold memory, tell stories, and evoke regenerative possibilities? While salvaging and repurposing materials, students explore innovative ways to infuse personal meaning, cultural significance, and ecological urgency in their artwork. The course is structured around assignments, hands-on experimentation, research, and field trips. Students will develop a conference project that gives discards a second life.

How do we notice the traces of what’s no longer here? How do surfaces and forms bear the lingering presence of human use? This course will consider the artistic and philosophical concept of absence in its many forms: vanishing, dematerialization, disappearance, nothingness, forgetting, loss, and grief. Through lectures, readings, and studio exercises, we will experiment with multiple artistic and conceptual frameworks for bearing witness to acts of removal, erasure, and temporality. The class will explore how these strategies can, in fact, bring more visibility to suppressed bodies, histories, and ecologies. Some of the artists whose works we will consider include Gordon Matta-Clark, Félix González-Torres, Ana Mendieta, David Hammonds, Doris Salcedo, Rachel Whiteread, Walid Raad, Do Hoh Suh, Danh Võ, Janine Antoni, and Stephanie Syujuco, among others.

The course will guide students in navigating the complexity of working in the public realm. The class explores methodologies and precedents for how artists translate their concepts, research, materials, processes, and scale into proposals for public works that respond to the needs of place and community. How can your work be in direct dialogue with its surroundings—physically, historically, and metaphorically—to activate the site? How can art mobilize the public into civic engagement, social change, and ecological repair? Through intentionality, projects engage audiences in participation, collaboration, or even disruption. Students will propose and develop a conference project with regular feedback, critique, and support from faculty and peers.

This course is a comprehensive introduction to Rhino7 for Mac OS X and additive digital fabrication. 3D software and digital fabrication have a variety of uses in contemporary art and the real world. The course covers basic model manipulation, rendering operations, and 3D printing; we will also explore ways of adapting more advanced 3D modeling techniques. In the first half of the semester, students will gain the technical knowledge needed for a rigorous exploration of 3D modeling in Rhino through a series of small projects. The second half of the course will focus on working toward the student’s approved project of their choosing. By course end, students will have the opportunity to output their work via 3D printing, 2D rendered visualization, and more. This multidisciplinary digital sculpture studio is open to interdisciplinary projects. Although not required, students are welcome to pursue the digital fabrication of the whole or part/s of their final projects.

This course is a comprehensive introduction to Rhino7 for Mac OS X and additive digital fabrication. 3D software and digital fabrication have a variety of uses in contemporary art and the real world. The course covers basic model manipulation, rendering operations, and 3D printing; we will also explore ways of adapting more advanced 3D modeling techniques. In the first half of the semester, students will gain the technical knowledge needed for a rigorous exploration of 3D modeling in Rhino through a series of small projects. The second half of the course will focus on working toward the student’s approved project of their choosing. By course end, students will have the opportunity to output their work via 3D printing, 2D rendered visualization, and more. This multidisciplinary digital sculpture studio is open to interdisciplinary projects. Although not required, students are welcome to pursue the digital fabrication of the whole or part/s of their final projects.

This course suits students seeking to create organic forms in 3D modeling—for free-form jewelry, furniture, architecture, sculptural objects, and more. By the time the course ends, students will have the opportunity to output their work via 3D printing. If you enjoy pull-and-push components as in clay modeling, SubD is the method for your 3D modeling. It is a new geometry type that can create editable, highly accurate shapes. In this course, students will learn SubD basic commands through small modeling projects such as simple characters, jewelry, or other organic shapes (TBA). The second half of the course will focus on working toward the student’s approved project of their choosing. Ideally, you should have basic knowledge of Rhino NURBS modeling, but it is not required.

This is a course for creative writers who are interested in exploring nonfiction as an art form. We will focus on reading and interpreting outside work—essays, articles, and journalism by some of our best writers—in order to understand what good nonfiction is and how it is created. During the first part of the semester, writing will be comprised mostly of exercises and short pieces aimed at putting into practice what is being illuminated in the readings; in the second half of the semester, students will create longer, formal essays to be presented in workshop.