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To earn a Bachelor of Fine Arts degree in Fine Arts at SVA, students must complete 120 credits as follows:

  • 72 credits in studio art courses 
  • 30 credits in humanities and sciences courses
  • 18 credits in art history courses
First-Year Requirements

AHD-1010 Art History I
A
HD-1015 Art History II
FID-1130 Drawing I
FID-1135 Drawing II
FID-1220 Painting I
FID-1225 Painting II
FID-1430 Sculpture
SMD-1020 Foundations of Visual Computing
HCD-1020 Writing and Literature I
HCD-1025 Writing and Literature II

Second-Year Requirements

The recommended course load is 15 credits per semester. All students should see their advisor about individual humanities and sciences distribution credit needs.

Second-year students must take 9 studio credits per semester, including a minimum of 3 studio credits per semester of drawing as listed in Requirement B.

Second-year fine arts majors must take:

Requirement A
One semester of:
FID-2020    Sophomore Seminar
AHD-2020 Modern Art Through Pop I
AHD-2025 Modern Art Through Pop II

Requirement B
Choose at least one of the following studio elective courses in drawing:

FID-2120-FID-3168: Drawing; Drawing the Figure; Anatomy; Fur, Feathers and Scales: Comparative Animal Anatomy; Urban Botanicals.

Requirement C
Choose the remaining number of required studio credits from the following elective courses:

FID-2000 through FID-3999: Students should select courses that will benefit them in defining their studio practice. Second- and third-year level courses (FID-2000s and FID-3000s) are interchangeable.



Third-Year Requirements

Third-year students must take 9 studio credits per semester. 

Requirement A
One semester of:
FID-3010    Visiting Artists/Critics Lecture Series I
FID-3015    Visiting Artists/Critics Lecture Series II
FID-3020    Junior Seminar

HDD-3200 Ideas in Art
  or AHD-2302  History of Video Art: 1965-1985
  or AHD-2303  History of Video Art: 1985 to Present

Requirement B
Choose 15 studio credits from among the following elective courses:

FID-2000 through FID-3999: Students should select courses that will benefit them in defining their studio practice. Second- and third-year level courses (FID-2000s and FID-3000s) are interchangeable.

 

Fourth-Year Requirements

Students should see their advisor early to determine remaining credit needs and requirements. You must be able to complete all 120 credits of the BFA degree, including all course and credit requirements, to be eligible to graduate. 

Fourth-year fine arts majors must take: 

Requirement A
One semester of
AHD-4140                       Senior Seminar
  or AHD-2302                 History of Video Art: 1965-1985
  or AHD-2303                 History of Video Art: 1985 to Present

FID-4070                         Visiting Artists/Critics Lecture Series III
FID-4075                         Visiting Artists/Critics Lecture Series IV
FID-4500                         Senior Workshop I
FID-4505                         Senior Workshop II
FID-4507-FID-4521         Senior Workshop III *
FID-4524-FID-4544         Senior Workshop III *
FID-4554-FID-4577         Senior Workshop IV *
FID-4582-FID-4596         Senior Workshop IV * 

* Note: students may substitute Digital Sculpture: Designing the Future (FID-3446/FID-3447), Electronics and Interactivity I or II (FID-3611/FID-3612), Prometheus Unbound: An Introduction to Bio Art (FID-3632), From the Laboratory to the Studio: Practices in Bio Art (FID-3639), FOOD: Projects in Bio Art (FID-3644), Video Mapping (FID-3634-A), or Embroidery and the Digital Sewing Machine (FID-3661-A) for one seven-week Senior Workshop.

Requirement B
A senior project consisting of a cohesive body of work and a written text that supports the ideas and concerns expressed in the work must be completed. All students must submit 15 high-resolution images (TIFF and JPEG formats) of artwork completed during the senior year. 

 

Fine Arts General Course Listing

First-Year Requirements 

First-year fine arts majors must take all the courses that follow. These courses are the foundation-year requirements and they must be successfully completed by the end of your first year at the College unless you have already received credit in transfer for any of these courses. Note: If you are receiving credit in transfer for any first-year courses and do not have to take the entire first-year curriculum, contact your departmental advisor to arrange to take some elective credits.

AHD-1010
Art History I
One semester: 3 art history credits
As an introduction to the art of Western cultures, this course will examine key monuments and styles in architecture, sculpture and painting through methods of visual analysis. Ranging anywhere from the Paleolithic period to the early 19th century, our exploration will link the ways in which concepts in art develop and change within different cultural and historical contexts. Field trips and museum visits will augment the course as appropriate. 

AHD-1015
Art History II

One semester: 3 art history credits
Through the methods of visual analysis acquired in AHD-1010, Art History I, this course will investigate painting and sculpture from various regions and periods. While topics might include such areas of study as the transition of Renaissance art into modernity, the arts of the Ancient Near East and Southeast Asia, the arts of Africa, or Islamic art, the focus is to gain an understanding of the sociopolitical conditions that produce these artworks. Field trips and museum visits will augment the course as appropriate.

FID-1130 / FID-1135
Drawing I and II
Two semesters: 3 studio credits per semester

Focusing on the perceptual skills involved in image-making, these courses will examine drawing as an act of producing independent works of art and as a preparatory process in organizing a finished work. Assigned projects will explore the formal elements of art, such as line, space, scale and texture. Materials will include pencil, charcoal, pen-and-ink and wash, among others. Projects range from the figure and still life, for example, to mapping and storyboarding.

FID-1220 / FID-1225
Painting I and II
Two semesters: 3 studio credits per semester

Foundation-year painting will explore various means of representation through the application of pigments to canvas, panels and paper. Color and its organizational principles will be investigated—both as a practical and theoretical endeavor. An exploration of form and content will be undertaken with an emphasis on technical skills. Class critiques and museum visits will be employed as vehicles to develop critical terms concerning painting.

FID-1430
Sculpture
One semester: 3 studio credits
As an introduction to the material world, this course explores diverse media and their potentialities to create volume, line and mass. Ranging from the ethereal to the fabricated, materials such as clay, plaster, cardboard, wood, resin and wire will be investigated by exercises in casting, mold-making, installation and site-specific work. Discussion will include concepts of space, gravity and light, among others, as they pertain to three-dimensional form.

SMD-1020
Foundations of Visual Computing
One semester: 3 studio credits
Serving as an introduction to the tools, terms and techniques of visual computing for artists, this course will cover basic skills for operating and maintaining a computer, as well as the techniques to create collages and layered images and the tools required to display work on the web. The impact of technology on the visual arts will be examined and discussed from contemporary and historical perspectives.

HCD-1020 / HCD-1025
Writing and Literature I and II
Two semesters: 3 humanities and sciences credits per semester
The first part of this two-semester offering will help students become capable, critical and independent writers. With its focus on developing an argument, the course offers an introduction to some of the skills necessary for critical analysis of written art. It will include a review of writing basics (grammar, coherence, idea development, sentence and essay structure). Since reading widely is a foundation of good writing, course readings are drawn from a selection of premodern Western works, including drama, poetry, the narrative and the critical essay, which will be used as discussion and writing prompts. The second semester will emphasize essay development, reading and critical thinking. Students will write essays and a research paper, and continue to work on their grammar and essay development. Readings are drawn from a selection of modern works, including drama, poetry, the narrative and the critical essay.

Upper-Level Courses

Second-Year Seminar

FID-2020
Sophomore Seminar
One semester: 3 studio credits
In this seminar, students will focus on the media image and its implications in their work. In practice, the photograph has become a drawing tool for the artist and we will explore photography and video in relation to painting and drawing. Projects in lighting and composition, as well as color and its effects will be explored in still photography and the moving image. Stop-motion video effects will be used to animate a drawing. Photography and related software will be employed to address space, texture and volume as formal concerns in image-making. Students will learn how to document their work, how to use a camera that goes beyond point-and-click and what range of possibilities can be achieved with these instruments. How to color correct prints and videos will also be covered. Sound and editing techniques as they apply to art production is included in this media primer.

Second-Year Art History Requirement

AHD-2020 / AHD-2025
Modern Art Through Pop I and II
Two semesters: 3 art history credits per semester

These courses map the major movements and tendencies in modern art beginning with the realism of Courbet in the 19th century and continuing into the 20th century, including impressionism, postimpressionism, symbolism, fauvism, cubism, futurism, expressionism, Dada and surrealism. The art will be discussed in terms of the individual artist’s intent as well as in terms of historical events and cultural issues at the times in which they were created. The second semester will survey of art from the emergence of “modernism” through the radical transformations in established modes of art-making of the postwar period. Close attention will be paid to the social, political and economic contexts in which artistic styles and forms have materialized, grown or changed from mid-century to the present. Museum field trips are an important part of the curriculum. 

Second- and Third-Year Drawing Courses 

FID-2120 / FID-2125
Anatomy I and II
Two semesters: 3 studio credits

Anatomy can offer a concrete structure for drawing and painting the human figure. These courses relate the study of the skeleton and the muscles to the live model. We will concentrate on the skeletal system in the fall semester and the muscles in the spring semester. Students will complete three life-size drawings of the human skeletal system, which will include views of the skull, torso and extremities, establishing the core of the human figure. Two triptychs, each consisting of a nude, muscular and skeletal drawing of a male and a female body, will be completed. We will learn the landmarks of the skeletal system, their relationship to the muscular system and how they work together to define the human form. An anatomy text such as Albinus on Anatomy by Hale and Coyle or Anatomy for the Artist by Jeno Barcsay is required. 

FID-2127
Fur, Feathers and Scales: Comparative Animal Anatomy

One semester: 3 studio credits
Tracing the animal kingdom from jellyfish to insects to humans, students will gain a working knowledge of comparative animal anatomy. The focus will be on vertebrates (reptiles, birds, and mammals) and the morphological differences that constitute groups, families and individual species. There will be discussions on ecology, evolution and the depiction of animals throughout art history. Students will work from specimens from the SVA Nature and Technology Lab, on-location drawings and photos. 

FID-2131
Drawing

One semester: 3 studio credits
The premise of this course is that drawing constitutes the fundamental basis of all visual language. As such, drawing will be explored through the development of both technical skills and concepts. Dialogues will revolve around contemporary visual issues. Work will involve the use of all media. Experimentation and invention will be stressed. Drawing will be viewed as a primary vehicle through which an artist grows in the struggle for freedom of expression. 

FID-2142
Figure Drawing

One semester: 3 studio credits
This course will focus on the model. We will concentrate on the figure in space, how to structure a picture, the use of the picture plane as an organizing tool, and plastic form. We’ll use charcoal and then diversify media and scale. In the spring semester, students will approach the figure very directly, and then be encouraged to use the figure as a catalyst to explore other themes. Through direct observation, students will be encouraged to work with diverse materials as a means with which to approach the act of drawing. 

FID-2146-A
Figure Drawing

One semester: 3 studio credits
Using a model, this course will begin with 10 one-minute poses and then move into a series of 20-minute poses. All materials are acceptable: watercolor, pencil, and pen-and-ink, among others. And all styles are welcome. Students will develop their own distinctive process. 

FID-2153
Drawing

One semester: 3 studio credits
In this course, students will develop ideas conceptually and physically. The first step is to deconstruct a book and reconstruct it as an idea book or journal (with a variety of papers), which will become a personal encyclopedia of ideas. The fall semester will emphasize recognition (history of drawing included), documentation (personal record keeping) and making drawings. The spring semester continues these practices while also advancing presentation skills (matting, framing, documentation and storage of artworks). During the first hour of each session we will meet as a group to share our books and then work on drawing projects, with individual instruction available. Models will be available for a portion of most class sessions. Documentary films on Andy Goldsworthy, Jean Cocteau (Orpheus), Francis Bacon and Andy Warhol will be shown. 

FID-2159
Drawing

One semester: 3 studio credits
What does it mean to draw? How is drawing relevant in today’s art world? This course is about the experience of drawing and looking at drawings and about the possibilities of extending our traditional ideas concerning the limits of drawings. We will attempt to answer these questions through a series of discussions and exercises in and out of class. All types of materials are encouraged. Figurative and abstract imagery will be examined. 

FID-2173
Urban Botanicals

One semester: 3 studio credits
This class will visit local sites in search of urban botanicals from which to draw creative inspiration. We’ll explore micro and macro environments, and the fractal realm of self-similarity and symmetry. We’ll see how the nature/nurture dialectic has been exploited by artists, and look to the less obvious lichens, molds and mosses as alternatives to the more ornamental botanicals. To meet the countless challenges that botanicals present, students will explore various mediums to create drawings/collages that range from the simple to the complex. 

FID-3113
Drawing
One semester: 3 studio credits
This course studies the application of pigments to the surface of paper and equivalent materials. This implies the history and practice of drawing, as seen from different points of view. The course stresses looking as a process of perception and invention of inner and outer images and the observation of the work in its making. 

FID-3167
Advanced Drawing

One semester: 3 studio credits
What is drawing? Historically we think of graphite or charcoal on paper. Prior to the mid-19th century in Western cultures it was often a tool in a process, maybe in preparation for an oil painting or a sculpture. In the second half of the 19th century and early 20th century in the West, drawing finds a place to stand on its own as an art form employing ink, watercolor, collage, pastels, and various dry mediums. But what is drawing now? How can we securely differentiate drawing from painting, sculpture, photography and video? Do we even want to? Can the digital exist within the hand and vice versa? We live in an age of “the image” where our experience is mediated through simultaneous and multiple layers of information. How can drawing reflect and respond to the present? 

Second- and Third-Year Painting Courses 

FID-2207
Painting and Mixed Media

One semester: 3 studio credits
Each session of this course will begin with a 20-minute warm-up assignment as a way to experiment with different approaches to painting and image-making. Students will then work on assigned and self-initiated projects. Working from observation, using systems to develop work and understanding drawing as a key to painting are just some of the approaches that will be explored. Experimentation with various materials and techniques is encouraged, as well as development of content through focusing on issues of identity, taste, politics, spirituality and philosophy. Home assignments, journal keeping and reviewing exhibitions are required. This is a rigorous course, as are the process of art-making and the discipline of being an artist. 

FID-2214
Painting: The Narrative Image

One semester: 3 studio credits
This painting course will engage students in their development of the narrative image. Using traditional and experimental approaches to oil paint, acrylic and gouache, students will explore composition, color and process in relation to the narrative possibilities of the picture. Students will work from models, memory, and imagination and will explore the uses of the narrative image and its possibility to express ideas. The uses of narrative in contemporary art and storytelling in art history will be discussed. Students will develop their ideas as well as their technical skills. 

FID-2217
Painting: Out of Your Head, Onto the Page

One semester: 3 studio credits
From an image’s conception to its execution, ideas, materials and processes run together. In this workshop, we’ll investigate the use of novel and traditional materials and the range of pictorial sources: fine art to pop art, everyday life to nightlife, institutions and the politics of space, objective and subjective analyses. What’s your worldview? What’s your comfort zone and how can you exploit it? With an emphasis on interpretation of work through the materials used (paint, honey, nail polish), the context in which they appear (wall, floor, street) and the formal elements of construction (scale, application, space, light, subject), we will look for ways to describe and strengthen your point of view. Instruction is one-on-one with class critiques. Discussions about work by artists who employ analytic, eccentric, comedic, political, romantic or intuitive points of view are included. 

FID-2228-A
Sensational Painting and ...

One semester: 3 studio credits
What do we do when we look? What happens as we build pictures? What makes an image memorable? We will consider the context for these concerns from Cézanne to psychedelic art to current exhibitions. Learn to focus your intentions while fine-tuning your intuition. Work from observation, imagination or printed sources with an emphasis on the distinctly physiological experience of painting. 

FID-2236
Painting and Photographic Sources
One semester: 3 studio credits
This course will concentrate on both the technical aspects and conceptual basis for working from and with photography in painting. The apparent objectivity of photographs will be used to investigate their hidden codes: what the photograph documents, what is suggested, what is left out and the social role of subject matter. We will discuss the formal qualities of images and how they might change the reception of a painting. Some emphasis will be given to the categories of dreams and hallucinations, memory and time, pictures and politics, and commercial images. 

FID-2242
The Abstract Image

One semester: 3 studio credits
In this course, students will develop a painting practice that employs imagery and pictorial means from both abstract and representational realms. This painting tradition includes the work of Henri Matisse, Philip Guston, Elizabeth Murray and Gerhard Richter, to name a few. Students will be encouraged to create images that incorporate the formal languages of modes of abstraction. The development of a mature studio practice will be stressed. 

FID-2251
In Practice: Color Theory

One semester: 3 studio credits
In this multimedia course, students will explore color and the principles of color theory. Each project will incorporate a specific lesson about color and light as a starting point, which is subsequently developed into a more complex and personal work. This is a challenging course that will help students to acquire the skills to make visually dynamic works, as well as expand the way they use, perceive and understand color. Projects will incorporate painting, photography, collage and digital images. In addition to home assignments, students are required to keep a sketchbook and to review exhibitions. 

FID-2263
Contemporary Watercolor and Beyond

One semester: 3 studio credits
This course is designed for adventurous students using watercolor—one of the ancient art-making mediums still in use. In the class, form, composition, color, and basic techniques will be discussed and students will explore the expressive and stylistic possibilities of the medium in the 21st century. As the course progresses, projects will focus on visual problem solving and unconventional uses of this paint: different formats, including personal books and diaries, multi-panel paintings using the model, collage, narrative assignments and abstraction. Group and individual critiques, and discussions of historical and contemporary uses of watercolor will be included. 

FID-3217
Contemporary Imagery: Representational Painting in the 21st Century

One semester: 3 studio credits
Image-based work is the predominate form of painting today. It can range from simple figuration to highly resolved illusionistic painting, with many divergent alternatives in between. Much of the current work is photographically derived. This course will explore the full range of modes of representation, with an emphasis on the photograph as a source. The use of photographic information, from media-based imagery through digital alteration will be considered. We will cover the ways that photography is both similar to and different from direct observation. Particular emphasis will be placed on helping students to match their technique to their sources and to defining the underlying content. A variety of imagery, media and content will be thoughtfully considered. Contemporary use of historical techniques will be demonstrated. 

FID-3223
Representational Painting

One semester: 3 studio credits
The goal of this course is to give students a strong foundation in both the intellectual and the formal aspects of painting. While representation in painting will be the subject, the focus will be on painting as a language and a process. Working from observation, various aspects of pictorial construction will be emphasized. Students will execute quick wet-into-wet paintings of the models to become more intimate with the material aspects of painting. Light and shadow will be discussed as a motor of representation. We will explore contrast of value, as well as warm and cool tonality, and then examine color and color theory and create paintings based on a complementary palette. Even while working within structured projects and a restricted palette, the expressive means of painting will be emphasized. The last phase of the course will focus on more complex projects in full palette. Students will be encouraged to develop their personal interests and subjects without abandoning formal aspects of painting. Group critiques emphasizing the verbalization of intent will be an essential element. Home assignments, slide presentations and museum visits are included. 

FID-3236
Painting: Issues and Ideas in Painting

One semester: 3 studio credits
This studio course is designed to strengthen your ideas through your materials, subject matter, content, context, technique and application. On an individual basis, we will discuss your sensibilities and how these may be encouraged toward developing a clear and unique voice. Contemporary and historical issues relevant to your practice are included, as in the exploration of formal and technical possibilities. Experimentation is encouraged. All disciplines are welcome and models are available on request. Group critiques will be held every five weeks. 

FID-3242-A
Constructed Painting

One semester: 3 studio credits
This course is for painters who want to work with materials, processes and techniques other than, or in addition to, traditional techniques of brush and paint on canvas. Students can explore collage, assemblage, relief, wall sculpture, fresco, in situ wall paintings, new media and other approaches to extending the dimensionality of painting’s surface. Any material can be used: fabrics, wood, metals, plaster, plastics, found objects, etc. We will critically examine differences between painting and sculpture in the context of picture plane, opticality, illusion, realness and objectness, and the way these terms are defined art historically, and look at how artists today engage these traditions. Photographs of this course can be viewed at rpasvaphotos.com. 

FID-3251
Painting: Studio Practices

One semester: 3 studio credits
Students will employ any media of their choice to further inform and advance their creative efforts. The emphasis will be on developing a dialogue and methodology that refines and explores new artistic territory. “Studio-time” is stressed to discover how best to further identify and realize intentions, how to organize efforts, and how to work both intellectually and physically in the studio. Research and archival practices will be taught. Internet sites will be employed to expand both technical and intellectual information and resources. Instruction is given on an individual basis. Students are encouraged to exchange ideas and techniques with their peers, as well as visit New York’s vast cultural resources on a regular basis. The understanding of visual culture, the evolution of a creative working process and the ability to communicate visual ideas are the goals of this course. There will be individual and group critiques. 

FID-3268
Painting: Refining Visual Language
One semester: 3 studio credits
Together, we will examine our assumptions about traditional painting in relation to a more contemporary experience of art-making. All approaches are welcome. Focus will be on discovering the problems of interest to each student and finding the material/metaphor most appropriate to each person’s objectives. Dialogue will center on developing the strengths of personal ideas in relation to the vast and rich community of painting’s vital past and intriguing present. This is a project-based course for students interested in developing their own ideas through a range of work in various media, emphasizing painting, but also encouraging works in other media. We will visit galleries and museums, and students will review various exhibitions on a regular basis. There will be group critiques throughout the semester. 

Second- and Third-Year Sculpture and Digital Courses

FID-2413
Ceramic and Mixed-Media Installation
One semester: 3 studio credits
This course is an intensive production-based course focusing on the creation of mixed-media installations using ceramic as the starting medium. The course will be divided into two sections. The first will cover different aspects of plaster mold production and the use of liquid clay (slip) in order to produce duplicates of an object. The second section will focus on the students’ project ideas through the review of work of artists producing installation art; group and individual critiques and exhibition reviews. Once a basic knowledge of mold-making and slip casting is established, students will propose a series of projects of which some will be selected during group critiques for full production. Specific analysis of mixed media use for each student’s project will be reviewed and organized in terms of production and aesthetics during group session. Attention will be given to the context in which the installation is placed and viewed and its impact on the physical and cultural environment of society. Homework will be extensive in order to acquire an independent work ethic. 

FID-2421
Body Casting

One semester: 3 studio credits
Body casting is the art of replicating the human form in a plaster casting. Students will make body castings from live models; the castings will then be corrected to match the live subject. Other techniques will involve using oil-based clay to create a “skin” for the plaster. Silicone rubber will be explored for mold-making and as a casting material. Discussions will include commercial applications for body cast products, special-effects makeup, specialty costuming, animatronic characters, three-dimensional commercial sculptures and holiday event mask-making. 

FID-2426
Soft Sculpture

One semester: 3 studio credits
Equipment fee: $200
What is soft sculpture? In the 1960s proponents like the artist Claes Oldenburg defined soft sculpture as a type of anti-form, creating sculptures made from stuffed pillow-like pop imagery. In the 1970s Lynda Benglis went on to create colorful and abstract process-oriented works that began as soft liquid but transformed into a hard durable material—yet retained their fluidity. This course will investigate the historical impact of softness in sculpture and examine it as a precedent to the creative process; softness made from soft materials, and hard materials sculpted to imply softness. We will investigate a diverse and evolving notion of softness as an underlying premise for all of your work. Emphasis will be placed on creative problem solving, experimentation, personal expression and artistic growth. Students will present work to the class for discussion and criticism. Each student will create a body of work that reflects his or her personal artistic vision culminating in a final class exhibition. Throughout the term we will expand our knowledge through workshops that explore a variety of materials, techniques and processes. Students will learn basic skills in sewing, pattern construction, felting, knitting, fabric printing and embroidery. Materials that begin as soft and malleable but are transformed to hard such as clay, foam, latex and plaster will also be examined. Students will explore thinking about building sculpture from the inside out by developing an understanding of armature design and construction with wood, wire and mesh. 

FID-2431
Sculpture Without Limits

One semester: 3 studio credits
Sculpture without limits. Every kind of sculpture can be investigated. Every type of material can be used. Welding, building, carving, modeling, site-specific and mixed-media assemblage will be taught. Hands-on instruction and strong technical skills enable each sculptor to realize his or her own thoughts. Weekly critiques will discuss work done in class. The idea comes first and then the sculpture. Where it came from, what it means, how it got there. Visits to museums, galleries and studios will be assigned. Slide lectures will augment discussion. 

FID-2438
Sculpture

One semester: 3 studio credits
This course is designed as a series of projects to encourage students to solve problems and discover working processes. Each project will begin with a discussion of contemporary artists, as well as current museum and gallery exhibitions. Various materials will be explored, from woodworking to mold-making, welding to video. We will meet for group critiques. 

FID-2461
Metalworking Techniques for Sculpture

One semester: 3 studio credits
The goal of this course is to enable students to work in metal for creating sculpture. Practical assignments will cover the fundamentals of welding, including MIG and TIG. We will explore techniques for shaping metal bars, sheets and plates (by machine and by hand), as well as how to grind, polish and finish metal, and then combine these techniques into finished projects. Students will be introduced to the computer-driven plasma cutter, which can cut steel up to a half inch in thickness.

FID-2483
Silver Jewelry Making
One semester: 3 studio credits
This studio course will focus on basic metalworking for creating jewelry. Techniques covered will include: soldering and annealing, metal construction and forming, polishing and stone setting, as well as decorative finishes for surface treatment of metals, such as texturing, patinas, antiquing and stamping. Each student will begin with designing and creating a ring set with a stone, followed by personal projects that employ the areas covered in class. There will be time for experimentation. Individual instruction on additional techniques such as making chains, jump rings, clasps and hooks will be given for projects that require these techniques. Assignments vary each semester and students are welcome to continue their projects from a previous course. 

FID-3403
Ceramics: Unearthing the Possibilities
One semester: 3 studio credits
Ceramics is one of the oldest of all art forms with a fascinating history that reflects the development of human civilization culturally, artistically and technologically. In the mid-20th century ceramics experienced a profound shift of status from traditional craft to an expressive fine art material. Contemporary ceramic artists are employing ancient techniques and cutting-edge technology to create powerful, innovative artworks. In this studio-based course we will unearth the processes and origins behind these ceramic techniques with a focus on both sculpture and vessel making. Each student will create a unique body of ceramic work by developing personal concepts and a distinct artistic voice. Students will explore various forming methods, including slab construction, coil, extended pinch and throwing on the wheel. Tools such as the slab roller, extruder and the pottery wheel will be introduced. There will be glaze workshops with demonstrations of low-fire glazes, underglazes, china paints, slips, mason stains, decals and luster surfaces. Students will learn to operate the kiln and participate in loading and firing. Critiques, presentations, short readings, discussions and viewing exhibitions will be woven into the structure of the course. 

FID-3413
Sculpture Now!
One semester: 3 studio credits
This is a hands-on, lo-tech sculpture course that is open to all students who want to make stuff. What kind of stuff? Objects, installations, hard/soft, tiny/large, intuitive/conceptual; we will explore it all. The personal preferences of students will determine material and fabrication options. The goal is to expand the creative practice and then build on that. Making stuff is part of that process. Individual critiques and group discussions is the other part. To broaden our experience we’ll attend exhibitions, films, lectures and/or performances that relate to our activities. It’s all part of having a large appetite for Sculpture Now! 

FID-3422
Transmedia Workshop

One semester: 3 studio credits
Through exploration and invention, and by embracing all media, students will engage in a critical discourse about what is happening in real time in the visual arts now, through their work. A fully mixed-media orientation is receptive to all students, including those who are primarily painters, photographers or video-makers, performers, etc., and to all approaches. The emphasis is on enabling students to experiment with a full range of traditional, unconventional and exotic materials, techniques and ideas: digital fabrication, audio, electricity, fluids, mechanical parts, photomontage, optics, metal, paper, wood. The development of student concepts and personal interests will be strongly supported. Our thinking will be placed in contemporary and historical context through presentations of visual and textual resources: slide shows, video, articles, Web-based online materials and a weekly update on current exhibitions. Among the many ideas that will be explored are: perception, transformation, performance, the body and language, as well as the environmental, political and site-specific in art. Resources will be discussed and extensive technical help will be provided. There will be group critiques. Instruction will be on an individual basis. 

FID-3446
Digital Sculpture: Designing the Future

One semester: 3 studio credits
This course introduces methods and concepts in sculpture using state-of-the-art technology. Students will work collaboratively on sculptural installations using CNC (computer numerically controlled) and rapid prototyping machines. Each project will focus on generating a component-based system where the whole is greater than the sum of the parts. The final, full-scale installation will include new spatial concepts and novel materials. Software and equipment instructions will be provided. Guest lectures and studio visits are included. 

FID-3453
Video Installation: When Light Becomes Form

One semester: 3 studio credits
From low-tech projection to high-tech immersive environments, video installation has become a dominant medium for contemporary artists. Drawing from the history of film and video art, the students will explore some of the different techniques of analog and digital media in their work in the digital lab. This course will focus on developing students’ knowledge of video installation and encourage experimentation with a variety of approaches to the projected image. Students will generate four projects throughout the semester. We will meet regularly as a group and on a one-on-one basis to discuss current exhibitions, readings and student projects, and screen film/video work by some of the major figures in the field. The remaining time will be spent in the studio/lab. Students are encouraged to incorporate their personal interests and perspectives into their work. Projects will relate to ideas and forms of light projection from conception and production to display and distribution; creative relationships between visual and audio; the physicality of light; narrative and non-narrative structure; original and appropriated material; public and private exhibition; interaction with performance and objects/sculpture. The course will touch on issues of gender, social and political activism, and the history of media communication. 

FID-3461
Devices of Wonder: Digital Media and Installation

One semester: 3 studio credits
This course will look at alternative visions of the art process as a cabinet of curiosities. Cell phones, computers, digital cameras, macro-videography—if you can film it, we will use it. Devices that produce an array of visual imagery are now embraced by art. From high-quality to low-res pixilated imagery, projects will range from self-portraits to group portraits, social/political content, gender and sexuality, psychological and cultural experiments, the conventional vs. the subversive, darkness and light. Students will also learn to incorporate music/soundscapes as an integral part of their work. Projects will investigate what stories you want to tell by using a variety of approaches and genres. Point of view, subjectivity, lighting, image quality, black-and-white vs. color, sound or silence—all are considerations that will be emphasized and implemented. 

FID-3539
Interdisciplinary Workshop

One semester: 3 studio credits
Artists today look in many places for inspiration. We want our work to communicate with audiences outside of the art world, so we appropriate the ideas and practices of disciplines that were not previously considered within the realm of art. Our projects in this course will explore these “alien” methodologies. We’ll repurpose techniques of mass production to modulate the scale and adaptability of our work. We’ll utilize techniques to deal with issues of time compression, psychological space and storytelling. We’ll adapt developments in science to conjure the invisible or to actualize the unimaginable. We’ll investigate how the Internet and social media sites have reconfigured old notions of public and private and we’ll exploit this new non-space in our art. The goal of this course is to discover how art has evolved in this new environment. Students may also develop other areas of interest as a focus of their work. All practices and media are allowed. The course will include discussions, film screenings, and other activities that relate to our studio projects. 

Second- and Third-Year Interdisciplinary Courses

FID-2513
Cut-and-Paste Workshop
One semester: 3 studio credits
This course will focus on cut-and-paste techniques as they are employed in image-making. The traditional underpinnings of collage will be investigated as a common thread to rethink, reposition and rework images and sound. Analog and digital approaches will be used to create a synthesis between popular and art-historical forms of collage. The course will be content driven and employ narrative, non-linear, representational and symbolic approaches to collage. We will begin using print media, then merge print with other mediums (paint, pastels, textures, found objects) to create mixed-media projects. We will transition into photo and digital collage/montage to analyze media as it has been used in the past and as it has developed with the advent of the Internet. Additionally, the course will explore cut-and-paste techniques using Photoshop, audio mash-ups and remixes. 

FID-2543
Wearable Art
One semester: 3 studio credits
Fashion as conceptual art on the canvas of the body is the focus of this course. We will explore how to design and create clothing and costumes; how to adapt and design patterns; sew and construct garments and accessories; decorate with paint and dye, printed photos, appliqué, embroidery, beadwork, neon wire, quilting and stuffing; and explore experimental and soft sculpture techniques. Students may also work with props and backdrops, special effects makeup, and other elements to create a complete look. Art fashion can be exhibited as art, or used to create characters for performance, photographs and videos, or to develop your own iconic look and become a living work of art. 

FID-3527
Image, Object and Meaning: Hybrid Studio Practices

One semester: 3 studio credits
This studio course is structured through “case studies” in which artworks of similar and disparate media will be presented, and their structures and consequent meanings will be addressed. For example, the works of abstract painters Jackson Pollock and Robert Ryman have radically different interpretations and meanings. The course begins with the far-reaching influence of Marcel Duchamp, and then focuses on work from the 1970s to the present. Topics include: painting, sculpture, installation, performance and video, as well as hybrids (Paul Kos’s video projections on paintings, Joseph Beuys’s performances generating objects and installations). We will examine the influence of seminal composers such as Karlheinz Stockhausen, John Cage and La Monte Young on visual artists (Nam June Paik and Yoko Ono, among others), as well as the influence of texts and musical scores on artists such as Ed Ruscha, Bruce Nauman, Barbara Kruger, Jenny Holzer, David Salle and Christopher Wool. Students will submit weekly responses to the works discussed; these responses can take a variety of forms: visual (drawing, painting, sculpture, installation, video, performance), text (written and/or read aloud), or a combination of these forms. There will also be assigned readings. 

FID-3529
Photography and Beyond

One semester: 3 studio credits
Photography is a tool of experimentation and intellectual inquiry. Artists today make use of photographs to not only re-present, but also to explore, question and transform their experiences of the world. New modes of the photographic image, the digital, cameraless photography and photo chemistry processes expand the possibilities of photography as an artistic platform. This course will offer a hands-on approach to what photography encompasses in the 21st century, from point-and-shoot to advance editing and printing to the use of various papers and supports for the photographic image. We will explore the possibilities of dissemination of artwork through photo-based online and printed publications. Additionally, students will examine diverse methods and technologies that define image-making today. Guest lectures and visits to galleries and museums will augment studio work. 

FID-3531
Photography: Theory and Practice

One semester: 3 studio credits
Much of contemporary culture, in one way or other, refers to photography. This introductory course offers a hands-on approach to shooting and printing photographs. It also covers photo theory, history and influential emerging photographers. Students will shoot and process their photographs in Adobe Photoshop and Lightroom, master archival inkjet printing and learn to shoot in a studio set-up using strobes—skills that have practical and artistic applications. In addition to our classroom work, we will regularly visit photo exhibitions at Chelsea galleries. By the end of the semester, students will have developed some knowledge of contemporary photographic discourse and the technical skills to shoot and print their own work. 

FID-3539
Interdisciplinary Workshop

One semester: 3 studio credits
Artists today look in many places for inspiration. We want our work to communicate with audiences outside of the art world, so we appropriate the ideas and practices of disciplines that were not previously considered within the realm of art. Our projects in this course will explore these “alien” methodologies. We’ll repurpose techniques of mass production to modulate the scale and adaptability of our work. We’ll utilize techniques to deal with issues of time compression, psychological space and storytelling. We’ll adapt developments in science to conjure the invisible or to actualize the unimaginable. We’ll investigate how the Internet and social media sites have reconfigured old notions of public and private and we’ll exploit this new non-space in our art. The goal of this course is to discover how art has evolved in this new environment. Students may also develop other areas of interest as a focus of their work. All practices and media are allowed. The course will include discussions, film screenings, and other activities that relate to our studio projects. 

FID-3542
Performance Art
One semester: 3 studio credits
Performance art is a way of extending and expanding your studio practice. It’s a way of working out ideas using your body as a time-based material. This course is designed for anyone interested in the inherent practices and narratives of performance art, and anyone who wants to push the disciplinary limits of their work. Each week students will make their own experimental performances while exploring the history and evolution of performance art. Group exercises will hone physical and vocal skills as well as build confidence. We will look at and engage with a wide range of performance forms, including Dada, happenings, fluxus, conceptual performance, punk, drag, social practice and mixed-media spectacles. 

FID-3551
Collaborative Practices
One semester: 3 studio credits
Collaborative Practices examines the role, and its challenges, of collective art-making. Students will look to art historical antecedents to observe how collaborative practices have progressed throughout art history. We will discuss and define distinctions between collectivism and collaboration, and identify key concerns of contemporary art groups/collaborations. Issues surrounding authorship, altruism, social and economic divides, relational aesthetics, studio output and internships will be emphasized. All projects will be collaboratively made and will investigate the invisible administrative labor behind studio practice, as well as tactile material processes as handled by various parties. Key to this course will be active discussion and a willingness to let go of the artist’s hand. 

Second- and Third-Year New Media Courses 

FID-3611
Electronics and Interactivity I

One semester: 3 studio credits
If you’ve ever wanted to experiment with robotics, to make a video that “knows” when someone is watching it, or build a sculpture that beeps when you touch it, this is the course for you. In this course, students will construct several electronics projects that illustrate the possibilities of physical computing, and to provide students with tools for further exploration. Using Max/MSP/Jitter we will build custom electronics and program these microcontrollers to create strange and meaningful forms of interaction. Note: No prior programming or soldering experience is required, but an interest in accessing your inner mad scientist is a must. Open to students from all departments. 

FID-3612
Electronics and Interactivity II

One semester: 3 studio credits
A continuation of FID-3611, Electronics and Interactivity I, in this course students will design their own projects with custom electronic circuitry and custom software. Students will use relatively simple electronic circuits and basic computer programming to develop rich and meaningful interactive sculpture, installation and audio/video works. How to program Arduino microcontrollers to respond to various kinds of sensors will be explored, and students will work with Cycling ‘74 Max/MSP/Jitter to control and respond to digital video, audio and other types of data. 

FID-3632
Prometheus Unbound: An Introduction to Bio Art

One semester: 3 studio credits
Humans have been tampering with species development for thousands of years, and creating countless varieties of domesticated plants and animals. Today, advances in biotechnology allow for the creation of entirely novel life forms such as transgenic rats glowing with jellyfish genes. In this course, students will be introduced to the emerging field of biological arts through hands-on laboratory practices and discussions. Through bi-weekly excursions to local biotech labs, parks, pet stores and seafood markets we will examine altered organisms. In the lab, students will create a post-naturalist journal, bacterial paintings, culture plant tissue, generate and disperse native seed bombs, learn proper techniques for preserving vertebrates and generate post-mortem chimerical sculptures from biological media. Discussions will range from bio-ethics/ecological thought to science fiction/biological reality, and more. 

FID-3634
Video Mapping Art
One semester: 3 studio credits
Video mapping (or spatial augmented reality) is an exciting projection medium that can turn almost any surface, regardless of its shape and size, into a dynamic video display. This course is intended for students who want to move into this powerful, creative medium and will focus on exploring popular video mapping software and hardware technology. Students will create a video-mapping project that will be featured on an architectural space in Manhattan. 

FID-3636
Video Mapping Art II
One semester: 3 studio credits
This course is a continuation of FID-3634, Video Mapping Art. Having explored the techniques of basic video mapping, students will proceed into advanced augmented reality theory and practice. This course will examine techniques in spatial scanning, multi-projector systems, projecting in moving objects, Kinect-based augmented reality installations, Colossal outdoors video projections and multi-platform performance environments. In addition, students will be introduced to specialized digital tools for video mapping such as TouchDesigner, HeavyM, Z Vector, DynaMapper (for iPad), TorsionSoft, Millumin, VPT (Video Projection Tools), LPMT (Little Projecting-Mapping Tool), Resolume Arena 4, Arkaos GrandVJ XT and Visution Mapio 2 Pro. Students will complete a project based in video mapping, which integrates course material in interesting and meaningful ways. To this end, at least half of the class time will be allocated for working on these projects with guidance from the instructor. 

FID-3639
From the Laboratory to the Studio: Practices in Bio Art

One semester: 3 studio credits
From the decipherment of the human genome to industrialized food production, science has spilled out of the laboratory into our lives. As scientists engage in molecular engineering, the corporeal body and the manipulation of life forms have become a public and aesthetic discourse unto themselves. This course will examine intersections between laboratory practices and visual art production. Projects will employ video microscopes and scanning devices, scientific specimen collections, plant tissue engineering, new anatomical models and molecular cuisine. In addition, each student will design their own terrarium with fish, aquatic plants and/or micro eco-systems. Field trips and guest lecturers will complement course material. Students may work in a variety of media, from drawing and painting to the digital and performing arts. 

FID-3644
FOOD: Projects in Bio Art
One semester: 3 studio credits
You are what you eat—or are you? Do you know what is in your food? From farm to fork what happens in between? Is what the food producer tells you true? FOOD: Projects in Bio Art focuses on how food production, industrial farming and GMOs have become part of our daily life. Projects will consists of growing plants hydroponically, DNA analysis of local food, and time-lapse photography and microscopic imaging of foodstuffs. In addition, we will explore the cultural differences, taboos and evolution of eating practices. We will look at culinary styles around the world, and their social, economic and political ramifications. We will examine urban farming, molecular cuisine, digital gastronomy, as well as pesticides and contaminates. Part forensic and part horticulture in practice, we will gather plants to extract pigments for watercolor; design food sculptures, including stencils for cakes; and use spices in novel ways. We will explore the effect microorganisms have on food—from cheese to e-coli to yogurt. From the good, the bad and the ugly, how has genetic engineering affected our lives? What effect is global warming having on food sources? Performance, painting, sculpture, public art, photography, illustration and cartooning, as well as community-based projects are welcome. 

FID-3661
Embroidery and the Digital Sewing Machine

One semester: 3 studio credits
Digital embroidery transforms a handcrafted couture into a fine arts media. Just like a tattoo where an image is created with color and needles, the embroidered fabric or paper is needle-stitched in colored threads. The image is a file that can be saved and repeated as a multiple or repeat pattern. The course will cover digital sewing using registration applications. Techniques related to fashion and the fine arts will be explored. A visit to a commercial embroidery atelier will be held at the conclusion of the course. 

Second- and Third-Year Printmaking Courses

FID-2806
Printmaking: Silkscreen
One semester: 3 studio credits
Silkscreen, one of the most versatile and widely used methods of printmaking, will be explored through demonstrations and self-initiated projects. Painters as well as photographers will find a new way of expressing their ideas through screen printing. Images can be made using hand-drawn separations, photographic film, digital separations and photocopied images. Printing on canvas, T-shirts, wood, metal, glass, as well as large-scale works, are all possible with silkscreen. Large-scale digital output is available. Water-based silkscreen ink is used in class allowing for soap-and-water cleanup. 

FID-2821
Printmaking: Etching

One semester: 3 studio credits
This in-depth etching course explores the wide range of materials and techniques used to create the linear, tonal and photographic images of the intaglio print. Basic techniques cover line etching for pen-and-ink effects, drypoint for velvety lines, soft ground for both crayon-like lines and textures, aquatint for tones and lift grounds for the quality of watercolor. Inking techniques include black-and-white and color intaglio, à la poupée, stenciling, and chine collé for added color and texture. All processes will be discussed and demonstrated, along with photo etching techniques, monoprints, collagraphs and carborundum prints. Students will develop the skills to proof, edition and curate prints. On-going critiques will be included. 

FID-2829
Printmaking: Monoprint, Woodcut, Linoleum

One semester: 3 studio credits
This course will introduce the printmaking processes of woodcut, linocut, monoprint and collagraph to create various types of prints. All processes will be demonstrated and applied in self-directed projects. The relief print is the oldest method of printmaking; its directness and ease of color application make it particularly appealing to artists of all fields. In woodcut, the non-image areas of the print are carved away and color is applied to the high surfaces of the block using rollers or brushes. Color can also be rubbed in below the surface to create depths and color mixing. Paper is then pressed against the inked surface of the block or plate to transfer the color image from the block. The monoprint is unique within printmaking because every print is different. Images are painted or drawn directly onto blank plates and then transferred to paper with a printing press, resulting in large, direct, painterly prints. The use of multiple printing, chine collé and color overlays will also be explored. 

FID-2834
Bound and Unbound: Relief Print in Book Form, Portfolio, Serial Image

One semester: 3 studio credits
This course will explore the use various techniques in relief printing—woodcut, linoleum, monoprint—to create original artist books or portfolios of prints. There will be demonstrations in both traditional hand-cut relief techniques as well as the use of digital cutting starting from Adobe Photoshop and Illustrator files. Color separation techniques and the use of overlapping color will be demonstrated. Students will have the option to create editions of each work or to work in a series of unique monoprints. Various bookbinding techniques and styles will be covered.  

FID-2857
Textile Printing: An Introduction

One semester: 3 studio credits
This course will appeal to fine artists as well as graphic designers and emerging fashion designers. Demonstrations will demystify the process of printing on canvas, T-shirts or totes. Learn to use various methods of printing on fabric, from silkscreen to block printing and stencils. You will be guided through “step and repeat” color separation used in printing entire bolts of fabric, to “engineered” images for pre-made piece goods like jackets, hats and patches. Students will use textile inks that are permanent and washable for professional results. Start your own T-shirt business and know what to buy and where to buy it. 

FID-3827
Printmaking: Lithography

One semester: 3 studio credits
The majority of mass printing is produced by the lithographic process. It has the remarkable ability to reproduce all the subtle qualities of charcoal, pencil, ink, watercolor, and more. This innate characteristic is why so many artists over the years have chosen to work in lithography. Goya, Lautrec, Picasso, Rauschenberg, Johns and Bourgeois, to name a few. Lithography is a medium that readily lends itself equally to painting and drawing, as well as various digital and photographic media. This course will offer traditional hand-drawn and state-of-the-art methods in realizing multicolored, professionally printed editions or work resulting in unique monoprints. These will include the options to work with hand-drawn aluminum plates, Bavarian limestone, photographic plates or any combination of these techniques. 

FID-3836
Printmaking: Silkscreen Projects

One semester: 3 studio credits
This course will concentrate on the use of silkscreen to realize personal projects, print editions, multiples, posters and portfolio pieces. Emphasis will be placed on idea concept, material choices and craft. The use of hand-drawn, photographic, photocopied and digital color separation techniques will be introduced in class. Large-scale digital output is available. Water-based silkscreen ink will be used, allowing for soap-and-water cleanup. 

FID-3846
Printmaking: Silkscreen and Painting/Combined Media

One semester: 3 studio credits
Once regarded as only a commercial process, silkscreen has been a real force in the art world for the past 60 years because it lends itself to almost any artistic endeavor. Hand-drawn work, photography and/or digital imagery are easily transformed through silkscreen. In this course students will discover how to make the most of the silkscreen process by printing on a variety of materials, such as paper, canvas, wood, metal and plastic, among many others. The screen becomes another tool used in art-making with endless one-of-a-kind color variations. Students are encouraged to seek their own creative solutions. 

FID-3847
Printmaking: Letterpress

One semester: 3 studio credits
This workshop will give a thorough introduction to letterpress printing. We will begin with handset, movable wood and metal type in combination with etched plates and linocuts, and then explore making and using photopolymer plates from digital files. This medium is versatile and adaptable, mixing easily with other printmaking processes; the quality of image can range from hard edge to painterly. Letterpress printing also impresses a third dimension of depth and texture to the image and text on paper. Simple, accurate color registration is easy on the letterpress. The experience of hand typesetting using vintage metal and wood typefaces will enhance students’ knowledge and understanding of typography. Printing blocks and plates range from completely manual, hand-cut and collaged to digital photopolymer plates. Letterpress die cutting allows students to actually shape their projects. Operation and maintenance of several letterpresses will be included. Each session will begin with a demonstration followed by studio time to work on individual projects, from type-based graphic designs to fine art limited editions. 

FID-3849
Silkscreen: Build Your Own Business
One semester: 3 studio credits
Turn your art into your career. This course will cover the process of silkscreening, from creating hand-drawn and digital separations to learning how to print on a variety of materials, including paper, textile, metal and plastic. We will also explore how to utilize the silkscreen process to create your own line of products such as t-shirts, tote bags and greeting cards. Additionally, we will discuss building brand, pricing work, establishing a customer base and mastering social media for your company. How to create an online marketplace, how to package and ship the product and dealing with inventory will be addressed. 

FID-3862
Printmaking: Silkscreen and the Artists’ Book

One semester: 3 studio credits
Using silkscreen, students will explore various ways to present print as sequential images—artists’ books, themed portfolios and comics, even fanzines. The course will cover the process from concept to finished and bound multiples. Methods of making color separations for multicolor prints using traditional hand-drawn and modern photographic techniques will be included. Bookbinding techniques will be demonstrated, such as Japanese bookbinding, accordion folding and signature binding. Large-scale digital output is available. 

FID-3871
Printmaking: Advanced Silkscreen and the Artists’ Book

One semester: 3 studio credits
This course offers the opportunity to make that ambitious book or series you’ve been working toward—from mockup to finished, bound multiples. Whether your project is a book, themed portfolio, or comics, you’ll learn the most effective way to present silkscreened, sequential images. Explore Japanese bookbinding, accordion fold and multiple-signature techniques. Large-scale digital output is available. 

FID-3876
Printmaking: Silkscreen Multiples

One semester: 3 studio credits
This advanced course will combine silkscreen printing with sculptural concerns to create large scale or three-dimensional mixed-media works. Concepts, fabrication, and sculptural edition problems will be tested and solved. We will explore tools, materials and methods, along with curating and documentation, and printing on a variety of different substrates such as plastic, metal, textiles and ceramics. Find out about decals, heat forming, embossing, pochoir and 3D printing. Get studio tips and logic. Learn about jigs for cutting and drilling. This course is a “hands-on make anything” tour de force. Field trips and guests artists are included. 

FID-3883
Printmaking: Graphic Image Silkscreen

One semester: 3 studio credits
Silkscreen is ideal for making bold, iconic images, and a great tool for strengthening concept, composition and palette: Think Warhol, Pettibon and Hirst. This course covers all aspects of the silkscreen process, from making separations by hand and computer to printing on paper, Plexiglass, canvas, metal, and other media. Large-scale digital output is available. 

FID-3896
Japanese Woodblock Printing
One semester: 3 studio credits
Japanese woodblock printing reached its technical zenith in the latter 1800s, with the art movement known as Ukioye. This course will emphasize the contemporary forms of Japanese block printing using watercolor and gouache inks to achieve a soft effect similar to watercolor paintings and pastel drawings. Images will be carved into the woodblock and then the surface will be inked with brushes and transferred to paper by hand printing. Demonstrations in proper tool honing and paper handling will be given; students are encouraged to explore a variety of approaches to the creation of multicolored woodblock prints.

Third-Year Seminars 

FID-3010/FID 3015
Visiting Artists/Critics Lecture Series I and II


Two semesters: no credit

This lecture series takes place twice a semester in the amphitheater. Renowned artists, critics and curators are invited to present their work and ideas through visual presentations and dialogue. 

FID-3020
Junior Seminar
One semester: 3 studio credits
This seminar will introduce students to professional practices associated with art-world operations. How to present work, write an artist’s statement and a proposal for a grant or exhibition, compile a résumé and develop a cohesive body of work will be included. The seminar is intended as preparation for the transition into mentor-centered senior workshops. Budgets, inventory and market value will also be discussed. 

Third-Year Art History and Humanities

AHD-2302
History of Video Art: 1965 to 1985
One semester: 3 art history credits
What is referred to as “video art” has become a ubiquitous feature of 21st-century art practice, yet it is an art form whose emergence is still a relatively fresh aspect of contemporary art history. This course will explore the origins of video art, examining its sources in film, photography and performance art. Through screenings of key works; discussion with artists, critics and curators, and in directed readings, students will be exposed to important works and individuals associated with the first two decades of video. Special attention will be paid to an understanding of the cultural and social context that supported the emergence of video art. We will focus upon the evolution of video art from both a technological perspective as well as the development of a video’s critical and institutional framework. Artists whose works will be viewed and discussed include Nam June Paik, Wolf Vostell, Bruce Nauman, Yoko Ono, Peter Campus, Vito Acconci, Frank Gillette, Juan Downey, Joan Jonas, Chris Burden, Lynda Benglis, Ira Schneider, Andy Mann, Martha Rosler, Allan Sekula, Shigeko Kubota, Bill Viola, Gary Hill, Mary Lucier, Woody and Steina Vasulka, Ilene Segalove, William Wegman, Tony Oursler, Antoni Muntadas, Keith Sonnier, Bruce and Norman Yonemoto, Dara Birnbaum, Ant Farm, Videofreex, TVTV, Marcel Odenbach, Dan Graham, Doug Hall, Richard Serra, Howard Fried, Terry Fox, Paul Kos, Paul McCarthy, Mike Kelley and Ernie Kovacs. 

AHD-2303
History of Video Art: 1985 to Present
One semester: 3 art history credits
As video art became more widely accepted and the tools became increasingly affordable and available, the medium quickly emerged as a primary site for the global dialogue that characterizes contemporary art practice. Among the topics to be addressed in this screening, lecture and discussion course will be the emergence of Asian, Latin American and European Video Art, the continued development of sculptural video installation work and the emergence of the market for video art. The blurring of the lines among video art digital art forms, digital cinema and art made for the Internet will also be addressed. Artists whose works will be viewed and discussed include Nam June Paik, Wolf Vostell, Bruce Nauman, Yoko Ono, Peter Campus, Vito Acconci, Frank Gillette, Juan Downey, Joan Jonas, Chris Burden, Lynda Benglis, Ira Schneider, Andy Mann, Martha Rosler, Allan Sekula, Shigeko Kubota, Bill Viola, Gary Hill, Mary Lucier, Woody and Steina Vasulka, Ilene Segalove, William Wegman, Tony Oursler, Antoni Muntadas, Keith Sonnier, Bruce and Norman Yonemoto, Dara Birnbaum, Ant Farm, Videofreex, TVTV, Marcel Odenbach, Dan Graham, Doug Hall, Richard Serra, Terry Fox, Howard Fried, Paul Kos, Paul McCarthy, Mike Kelley and Ernie Kovacs. 

HDD-3200

Ideas in Art: 1960 to the Present



One semester: 3 humanities and sciences credits


This course will investigate contemporary art, from pop art to postmodernism. Beginning with the 1960s, which witnessed the birth of pop art, minimalism, postminimalism and conceptual art, we will study how these movements continue to be relevant today. Readings include primary texts and critical works. There will be visits to museums and gallery exhibitions. 


Fourth-Year Seminars 

FID-4070 / FID-4075

Visiting Artists/Critics Lecture Series III and IV
Two semesters: no credit

This lecture series takes place twice a semester in the amphitheater. Renowned artists, critics and curators are invited to present their work and ideas through visual presentations and dialogue. 

FID-4081
Professional Practices

One semester: no credit
This course is intended for students who wish to pursue graduate studies, artist-in-residence programs and gallery representation. Topics will include: writing an artist’s statement, grant proposals, an analysis of art galleries, applying to graduate schools and portfolio presentation. 

FID-4083
Public Speaking for Artists
One semester: no credit
As stated on ArtBusinees.com, “Many of today’s accomplished artists also know how to work the crowds at events where their art is the center of attention. They are well aware that collectors and others love to speak with artists at gallery openings, open studios, art fairs and anywhere else where artists appear in person alongside their art. Consequently, they use their social networking and public speaking skills to effectively convey who they are and what their art is about in order to expand their fan bases, increase their potential for making sales, and ultimately advance their careers.” This workshop will address public speaking for artists as a necessary part of career planning. 

AHD-4140
Senior Seminar


One semester: 3 art history credits


Unlike the historical avant-garde that situated itself outside of mass culture, today’s emerging avant-garde art seems to anticipate ways of working from within and in relation to mass culture. Art is steadily moving out from the “white cube” to participate in a global continuum that’s hosted by satellite TV and cable, the Internet, all forms of wireless communication and international biennials. The fractious history of art and mass culture has grown exponentially within the past two decades in direct proportion to the invention of new imaging technologies and the development of global economies. This course proposes to examine the scant, but rich, history of relations between art and mass culture, and to chart the rise of media-related art. We will immerse ourselves in screenings of contemporary video/multimedia work of the past two decades and seek out as many pertinent exhibitions as we can throughout the semester. We will also read interviews with artists and curators, as well as texts on media theory, globalism and the like. 

Fourth-Year Fine Arts Studio Courses  

FID-4500 / FID-4500

Senior Workshop I & II: Painting, Drawing, Sculpture, Video Art, Multimedia
Two semesters: 3 studio credits per semester

Senior Workshop: (aka The Monday Night Team) is a mentorship program in which an individual student’s art and working process are the subjects of discussion. The goal of these courses is to aid students in developing a working methodology that produces a final body of work. One-on-one critiques, group critiques and outside evaluators (artists/critics) format the courses. In addition, reading materials, group discussions and presentations complete the sessions. 

FID-4507 through FID-4596

Senior Workshop III and IV
Two semesters: 3 studio credits per section

Senior Workshop is a tutorial in which students develop their senior project with two instructors. A finished studio project and an accompanying written statement are required. Students are expected to be critically informed and historically aware of the conceptual underpinnings of their practice.  

 

School of Visual Arts | 209 East 23 Street, NY, NY 10010-3994 | Tel: 212.592.2000 | Fax: 212.725.3587