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Changes to the original publication, including new
courses, cancellation, and other changes, are
contained in an addendum which can be found at
the end of this document. All changes are up-to-date
on WebAdvisor.
Rhode Island School of Design
Wintersession 2010 Schedule of Courses
Classes begin January 4
Add/drop period January 4-11
WINTERSESSION 2010 COURSE CATALOG
TABLE OF CONTENTS
Information and Registration Instructions
page . . . . . . . . . . . . . . . . ii
Wintersession Academic Calendar
page . . . . . . . . . . . . . . . vi
Class Meeting Time Key and Building Codes
page . . . . . . . . . . . . . . . . v
Course Offerings - General
page . . . . . . . . . . . . . . . . 1
Liberal Arts Courses
page . . . . . . . . . . . . . . . 21
Off-Campus Courses
page . . . . . . . . . . . . . . . 29
Alternates to Off-Campus Courses
page . . . . . . . . . . . . . . . 32
Index to Course Offerings
page . . . . . . . . . . . . . . . 33
Registration Form (use only if you do not web register) . . . . . . . . . . . . . . . Back Cover
Detach, Complete & File at Registration
ABOUT THIS CATALOG--PLEASE READ
This Catalog went to press on or about October 1 and
contains all course offerings approved by the
Wintersession Committee through that date. Additional
courses may be approved and will be listed on a
separate insert which accompanies this Catalog. or on
WebAdvisor. If this insert is missing, additional copies
are available at the Office of the Registrar and on the
Registrar’s page on the RISD intranet. Also, courses
withdrawn or changed after October 1 will be changed
on WebAdvisor when you “Search for Classes”.
Please retain this Catalog. Replacement hard
copies will be available only through the RISD Store
at a nominal cost. An electronic version can be
found at http://intranet.risd.edu, go to the
Registrar’s Office page.
RISD reserves the right at any time and without
notice to delete, adjust, or replace any course(s)
published in this Catalog.
 For your convenience--an Index to Course Offerings
(To be found in the back of the book)
i
WINTERSESSION 2010 INFORMATION AND REGISTRATION
INSTRUCTIONS
each course’s description. These charges are billed after the
start of Wintersession. In addition, some courses require the
purchase of materials. Estimates of material costs are provided
in this Catalog if they have been submitted by the department.
Material costs are out-of-pocket expenses and are not billed
by the College.
Off-campus study courses have costs beyond tuition
associated with travel, lodging and perhaps materials.
Estimates are given in this Catalog, if available at press time.
Further information on travel costs is available from the
department sponsoring the course.
Special Students (non-degree) are charged tuition on a
per-credit basis and are also responsible for course fees. All
payments are due at the time of registration.
PURPOSE
The central purpose of the Wintersession program is to enrich
the educational experience of RISD students and faculty by
providing a six-week period for offering various opportunities
which are not available in a regular semester. Courses are
available to students regardless of major, prior knowledge or
experience. Exceptions to this rule will be indicated in the
description of the course.
ENROLLMENT REQUIREMENTS
Every degree program student is required to enroll in one
Wintersession course during each Wintersession period in
order to remain in a full-time student status at RISD and to
remain in good academic standing. In a very few situations,
two courses are listed as “concurrent,” that is, they are taught
as corequisites, and enrollment in both is required at the time
of registration. Catalog descriptions will indicate these
courses.
COURSE OPTIONS
Note: Freshmen are not eligible for ISP/CSP, internships, or
courses listed in the off-campus study section of this book.
ˆ Wintersession courses: Students are free to request
any course for which they are eligible. In some departments,
students may be required to enroll in specific Wintersession
courses. These special curriculum requirements are listed in
the Course Announcement and available from your
department, as well. Off-campus courses require the
instructor’s permission prior to enrollment, most other courses
do not. Wintersession off-campus study classes are expected
to span the full six-week Wintersession period and may
include an on-campus period of study. Each off-campus
course is paired with an on-campus alternative, just in case the
off-campus course is canceled for lack of enrollment or some
other reason. These “Alternate to Off-campus Courses” are
listed separately near the back of this catalog.
REGISTERING FOR A SECOND COURSE or
SWAPPING/EXCHANGING COURSES
Enrollment in a second class is dependent upon course
availability, and registration in two courses is not
guaranteed. The registration system is set up to give all
students an opportunity to select one class before any student
has an opportunity to select a second class. Additional
information is available on the next page.
.
CLASS MEETING TIMES
A class meets in Schedule A, the first part of the week, or
Schedule B, the second part of the week, unless otherwise
noted under the course description. Page vi in this catalog
lists the complete days and times for both schedules. Within
the hours allotted to the A or B time schedules, a three credit
seminar/lecture class meets for a minimum of 6 contact hours
each week and a three credit studio class meets for a minimum
of 10 hours each week. Where available, actual meeting
times are provided under the description of the course. If the
meeting time is not provided, and it does not appear on
WebAdvisor by Dec. 1, check with the department offering
the course. Dates and times for off-campus study courses are
provided by the instructor or department sponsoring the
course.
ˆ Nonmajor studio electives (NMSE) offered by
Foundation Studies: During Wintersession, courses
offered by the Division of Foundation Studies will use the
subject code of NMSE instead of FOUND. These courses are
open to all students and are not part of the first year
curriculum. The courses are not restricted to freshmen nor are
they geared to freshmen. A “NMSE” course taken during the
Wintersession fulfills the degree requirement of a (n)on(m)ajor (s)tudio (e)lective.
ˆ Independent Study Program (ISP) and
Collaborative Study Project (CSP): Enrollment in a
COSTS
Wintersession tuition for full-time students is included in the
tuition for Fall and/or Spring terms. However, bear in mind
that during the Spring term, extra tuition will be assessed for
credits in excess of 36 total attempted for the academic year.
Calculation of the 36 total credits allowed under tuition
regulations includes credit from Summer internships; Fall
credits; Wintersession credits; and Spring credits.
Course fees are assessed on some courses, as listed after
three-credit ISP or CSP requires approval of the department
head for your major and your divisional dean, using the form
available from the Registrar. An overall 3.0 grade point
average is required for participation in an ISP or CSP.
A CSP allows two undergraduate or two graduate
students to work collaboratively to complete a faculty
supervised program of independent study. The CSP is an
ii
alternative to a regularly offered course and may be taken for
three credits. Usually, a CSP is supervised by two faculty
members, but with approval it may be supervised by one
faculty member.
INSTRUCTIONS FOR REGISTRATION
ˆ Internship: Enrollment in a credit bearing internship
requires completion of the Internship Application Form and
the Internship Agreement Form, both available from the
Registrar. (Graphic Design students must use the form
provided by their department.) Grading is Pass/Fail only.
Wintersession internships carry three credits, unless your
department (such as Apparel Design) allows a six credit
internship and provides approval for it in advance. For the
few exceptions allowing six credits, the amount of course
credit is linked to the content of the internship and number of
hours on the job, e.g., full-time for six weeks is necessary for
up to six credits, but may not, on its own, be sufficient to
warrant six credits.
1.
Read these instructions, then the course offerings in
this catalog. The Wintersession Committee has asked
that courses in this catalog appear in alphabetical order
by title in order to reinforce the primacy of course
subject matter and make department sponsorship a
secondary consideration. However, in order to make it
easier to find all courses offered by a department, an
index by department is provided in the back of the
catalog.
2.
Select your first choice course and several alternates
in rank (choice) order, bearing in mind your degree
requirements and personal interests. You can check
course availability on WebAdvisor and be sure to
check, too, for additional course offerings or
cancellations made after the catalog went to print.
(EXCEPTION: If you are certain that you will be enrolled in an offcampus course, internship or ISP/CSP you need not list alternate
choices, provided you are already approved for one of these types
of courses.)
REGISTRATION
You must register via the web, using WebAdvisor. Web
registration runs from Saturday, October 31 through Thursday,
November 12, according to the schedule listed below and your
specific appointment.
Students are limited to selecting one class until the period
for adding a second class begins on Saturday, November 7
(Friday, November 6 for freshmen). See the section entitled
“Add/Drop” for more information on requesting second
courses.
Selecting “concurrent” courses (i.e. corequisites,
which are two linked courses that must be taken
together) counts as one choice, even though it gives
you six credits. You should list both courses on your
form. Enrollment in only one of the concurrent courses
is not permitted. There are very few such classes, if
any, in any given Wintersession.
If you are registering for an off-campus study
course, that is, a travel course, , you must pay a deposit
to Student Accounts prior to submitting your Course
Request Form. Cancellations of travel courses, for lack
of enrollment or other reasons, will be made on
Wednesday, October 28, and posted that afternoon.
You must check this list in order to know whether to
register for another course.
Registration times for web registration
Your web registration time is randomly assigned within your
group. It is available on WebAdvisor. WebAdvisor will allow
you to register only after the assigned time.
In May 2008, the faculty voted to modify the order of course
selection by students. The earliest start time for each of the
groups is listed here.
Freshman, New Transfers, and
First year grads: 8:00am, Saturday, Oct. 31
Seniors 6:00pm Monday, Nov. 2.
Juniors: 6:00pm, Tuesday, Nov. 3
Sophomores: 6:00pm, Wednesday, Nov. 4
Fifth-year u/g students, Second and
third year grad students: 6:00pm, Thurs., Nov. 5
For all groups, web registration for Wintersession ends at
midnight on Thursday, November 12.
Note: To register for a course which requires the written
permission of the instructor, including off-campus study
classes, use the drop-off form on the back of the Catalog. The
signature on the form guarantees your admission so
registration times are not relevant. You cannot register on the
web for any course that requires written instructor permission.
3.
iii
Check “My Class Schedule” to make sure your course
selection was processed. by WebAdvisor. Then, print
out your schedule.
ADDITIONAL INFORMATION ON
REGISTERING FOR A SECOND COURSE
OR SWAPPING/EXCHANGING COURSES
SPECIAL INSTRUCTIONS TO REGISTER
FOR AN OFF-CAMPUS, INTERNSHIP, OR
ISP/CSP COURSE
Students may not enroll in a second course which meets in the
same schedule (A or B) as the first, unless they receive
permission to do so through the filing of an Academic Petition
Form. The maximum credit load for Wintersession is six
credits.
Friday, Nov. 6 is reserved for freshman: Freshman
who wish to take a second course, for a total credit load of up
to 6 credits, may seek to do so starting Friday, November 6 at
9:00am.
Others: Other students may add a second class
beginning Saturday, November 7 at 8:00am.
Web registration is available for second-course
registration or swapping classes through Thursday, November
12. Walk-in service with the Registrar’s Office is available
through Wednesday, November 18.
Use WebAdvisor to check for open classes. Your new
course request must be made from the courses that still have
available seats.
Also, during the Add/Drop period of January 4 - 11,
classes which had been closed may reopen as students drop
classes or are dropped by the faculty for unexcused absence
If you are enrolling in an Off-Campus Course be sure to check
the list of canceled off-campus courses (if any) which will be
posted at the Registrar’s Office on October 29. If your offcampus course is canceled, you should follow the instructions
in number two above and list alternative choices because you
are not ensured entry into the alternate course to the travel
course.
If you are enrolling in a Wintersession Internship then
you must file the Internship forms with the Registrar's Office.
To complete your registration, the form must be filed by the
end of the add/drop period, January 12. This late filing date
gives you more time to make internship arrangements.
If you are enrolling in an Independent Study or
Collaborative Study Project (ISP/CSP) indicate "ISP" or
“CSP” on your Request Form as your first choice and turn in
the form on October 31 or earlier. Obtain (at the Registrar's
Office) and complete an ISP or CSP application form, as
appropriate. Your registration is complete once this form is
turned in at the Registrar's Office (by January 12, 2010).
ADD/DROP
The Add/Drop period runs from Monday, January 4 through
Monday, January 11. Web registration is not available during
this time. All adds and drops must be done in person in
writing using the Add/Drop Form. You may drop a course
without getting the approval or signature of the instructor, but
in order to add a class–any class–you must have the written
approval of the instructor.
“W” grade: A grade of “W” (withdrawal) is assigned for
withdrawal from a course between January 12 and January 27.
To withdraw, a form must be filed in the Registrar’s Office.
After January 27, you are committed to complete the course
and if you stop attending or unofficially withdraw you may
receive a grade of “F”.
iv
COURSE SELECTION PRIORITY WILL BE BY LOTTERY
WITHIN CLASS YEAR
Class Year Priority Will Be As Follows
Number of Students Whose Request Form Will Be
Processed Before Yours
POPULATION
PRIORITY
FRESHMEN, NEW
TRANSFERS, FIRST
YEAR GRADS
1ST PRIORITY
726
0
726
SENIORS
2ND PRIORITY
476
726
1202
JUNIORS
3RD PRIORITY
470
1202
1672
SOPHOMORES
4TH PRIORITY
435
1672
2107
256
2107
2363
th
5 YR UNDERGRAD, and
2nd & 3rd YR GRAD
TH
5
PRIORITY
APPROX. SIZE OF
POPULATION
MINIMUM #
MAXIMUM #
This chart demonstrates the reason for planning choices! The first priority group alone will close courses - even to
other Freshman, new transfers, and first year grads.
MEETING TIMES for ON-CAMPUS COURSES
For six week, three credit classes, Lecture classes meet for 6 hours per week and Studio classes meet for 10 hours per week
For abbreviated, three week classes (if any), contact hours are doubled, and classes meet Monday through Friday or as
listed under the course description.
If available, actual meeting times are provided under the description of the course. Otherwise, the instructor will designate the
class meeting times within the periods (A or B) listed here.
SCHEDULE A
MONDAY
TUESDAY
WEDNESDAY
SCHEDULE B
WEDNESDAY
THURSDAY
FRIDAY
9:00AM - 6:00PM
9:00AM - 6:00PM
9:00AM - NOON
1:00PM - 6:00PM
9:00AM - 6:00PM
9:00AM - 6:00PM
BUILDING CODES USED IN THIS CATALOG
AUD
BANK
BEB
BENS
CHAC
CB
DC
FLET
ISB
LIB
MASN
Auditorium
Bank Building
Bayard Ewing Building
Benson Hall
Chace Building
College Building
Design Center
Fletcher Building (212 Union St., downtown)
Illustration Studies Building
Library - 15 West
Mason (CIT) Building (291 Weybosset St.)
MEM
MKT
METC
REF
20WP
41MT
48WM
161S
187G
WATM
WCS
v
Memorial Hall
Market House
Metcalf Building
Refectory
20 Washington Place
41 Meeting Street
48 Waterman Street (up hill beyond security)
161 South Main Street
187 Benefit Street Garage Studio
Waterman Building (NLAB = Nature Lab)
What Cheer Studios
2010 WINTERSESSION CALENDAR
October 5-19, 2009
October 31
Mon. - Mon Deposits due in Business Office to secure off-campus course participation
8:00am
Sat WebAdvisor registration opens (by appointment)
November 6
November 7
November 12
November 18
8:00am
8:00am
midnight
4:15pm
January 4, 2010
January 6, 2010
January 11, 2010
January 12, 2010
January 18, 2010
January 22, 2010
January 25, 2010
January 27, 2010
February 10, 2010
February 12, 2010
February 13 - 21, 2010
February 22, 2010
Fri
Sat
Thu
Wed
Freshmen may register for a second class (on the web)
All others may add a second class (on the web)
Web registration for Wintersession ends
Walk-in service for Wintersession registration ends
Mon Courses on Schedule A begin
Wintersession Add/Drop period begins–Web registration not available, use
Add/Drop Form
Wed Courses on Schedule B begin
Mon Final day of Add/Drop
Completed ISP/CSP and Internship applications due in Registrar’s Office
Tue Beginning today, courses dropped receive a “W” grade
Mon Dr. Martin Luther King, Jr. Day (observed); offices closed
No Degree Program classes, but instructors are to make up the class
Fri
Three-week classes end (if there are any)
Mon Second-three-week classes begin (if there are any)
Wed Final day for Wintersession course withdrawal, "W" grade
Brown University classes begin for Spring 2010
RISD students may register for Brown classes
Wed Schedule A courses end
Fri
Schedule B courses end
Wintersession break
Mon Spring semester classes begin
vi
Wintersession 2010
GENERAL COURSE OFFERINGS
General Course Offerings
1
This course will introduce concepts and provide examples
related to various experiences of the sacred, assist each student
in exploring a personal direction, related or unrelated to a
religious system. Students are encouraged to work in a variety
of media during the course, to learn more about other
traditions, and to draw from them in creating images, objects,
and events which best express their own path and vision.
The class will be primarily a studio, supported through
lectures and readings, and enhanced with field-trips and films.
Estimated cost of materials: $50.00
W,Th
1:00pm - 6:00pm
CHAC 504
ILLUS 5332
2D OR NOT 2D
3 credits
Melissa Ferreiria
Illustration is of course visual communication, but the vast
range of illustrative statement requires varied and resourceful
modes of expression to communicate with grace and force.
Very often, and historically almost always, illustration has
confined itself to two dimensions: art made flat, reproduced
flat. But isn't it likely that for certain statements the best visual
articulation involves the third dimension? Might not eloquence
occasionally require that a line lift off the page, that color
sculpt itself into shape, that form not be wholly illusory?
The answer is "yes". The evidence and justification for
this assertion, however, will be provided by students in this
course. Weekly assignments that combine illustration
objectives with a playful spirit of exploring materials for its
own sake. Simple ingredients include plain paper & junk mail:
cut, crimped, ripped, twisted, poked, prodded & glued. Layered
cutouts extracted from old publications will be added &
subtracted. Quick experiments will be the basis for
compositions that will animate shadow boxes and tell stories.
Techniques with polymer & air-dry clays will be
demonstrated (modeling on wooden board for low-relief
images as well as formed over armatures for more dimensional
figures). Scavenged objects to be disassembled &
reconstructed in fresh configurations will offer another way to
make images. Whatever the initial steps, pieces will be finished
by incorporating mixed media, collage and other surface
treatments that unify the whole.
The semester culminates with a four-week final project of
stylistically-consistent narratives. Idea and technique come
together in the resulting pieces; these illustrations that will be
anything but shallow.
So 2-D or not 2-D? That is the question. Or it will be after
taking this class.
Open to senior and above
M,T
1:00pm - 6:00pm
ISB 407
FAV W517
ADVANCED ANIMATION
PRODUCTION
3 credits
Bryan Papciak
You will continue work on an animation project to be
presented at the RISD Film/Video Show. Class meets to
screen films, review production and include technical
workshops.
Restricted to Film Seniors
Fee: $25.00
Deposit: $150.00
Estimated cost of materials: $2,000 per/year
W,Th
1:00pm - 6:00pm
MKT 307
FAV W507
ADVANCED FILM PRODUCTION
3 credits
Alexandra Anthony
Production work in video and film. Organizing crews for
film-making; reviewing rushes and initial synching and sound
work on degree projects. Several screenings of relevant films
and tapes.
Open to Seniors; FAV majors only
Fee: $75.00
Deposit: $150.00
W,Th
1:00pm - 6:00pm
AUD 330
SCULP 4775
ALL DRESSED UP AND NOWHERE
TO GO
3 credits
Andrew Ness
This course will be an intense investigation of how to create a
large fabric sculpture by using many methods of construction.
We will pattern and execute a “garment” to adorn a large-scale
rigid sculpture. We will be working as a group to realize this
second skin for a very whimsical organic form that straddles
the line between the elegant and the grotesque. As a class we
will look closely at and utilize various methods of constructing
a fabric sculpture. We will discuss as a group how to make a
soft sculpture “hold its own” from hanging, draping, stuffing,
starching, and more. Together we will venture into a world
that relies on meticulous construction alongside moments of
whimsy and spontaneity. You will work as a dynamic team to
construct this focused extravaganza. There will also be an
opportunity to act intuitively and riff a little.
Finally we will also be documenting our process in
photographs along the way that will then be used to create a
NMSE 4514
ADDRESSING THE SACRED
3 credits
Christina Bertoni
This course offers an invitation and an opportunity to explore
the notion of “The Sacred” through studio practice, class
reading, films, and discussions. Ninian Smart, author of
Dimensions of the Sacred, describes the sacred as “that aspect
of human life, experience, and institutions in which we as
human beings interact thoughtfully with the cosmos and
express exigencies of our own nature and existence...”. The
human need to be in communication with some form of power,
energy, or deity is one of the oldest human impulses and
continues to be in the present day. Special language, music,
objects, places, practices, and rituals have evolved to facilitate
these communication and experiences.
1
2
Wintersession 2010
delicate subjects of architecture and terrorism from a historical
and cultural point of view, exploring the theoretical debates as
well as investigating the more technical fields.
Also offered as LAEL LE21. Register into the course for which
credit is desired.
T
6:00pm - 9:00pm
BEB 120
W
9:00am - 12:00pm
small book that everyone will receive a copy of to incorporate
into their own portfolio.
We will take a look at many artists, fashion designers,
performers, club kids, and all around misfits who have blurred
boundaries of sculpture and adornment including but not
limited to: Hussein Chalayan, Claes Oldenburg, Grace Jones
and Keith Haring collaboration, Leigh Bowery, Kiki Smith,
Louise Bourgeois, Annette Messager, Vivienne Westwood,
Klaus Nomi. We will also take a look at various shamanistic
costumes from myriad cultures.
M,T
1:00pm - 6:00pm
MET 114
SCULP 4775
ARTISTS PROJECTS
3 credits
Iiona Nemeth
This course invites twelve dynamic sculptors to realize two
large-scale sculptures using processes of mold-making, casting,
and metal fabrication. Students learn the processes and assist
in every aspect of fabrication of these sculptures from start to
finish. The class develops confidence, as well as skill in
conceptualizing and executing large-scale, three-dimensional
work. NOT OFFERED
M,T
1:00pm - 6:00pm
(Foundry) METC 114
FAV W502
ANIMATION I-A
3 credits
Ann LaVigne
This course covers the fundamentals of animation and explores
handmade animation techniques and processes. The purpose of
the course is to provide the student with a hands-on creative
experience while they learn the potential of this very dynamic
form of expression. Through the class projects, students are
introduced to the basic principles of animation, including
timing, movement for animation, and basic editing. The class
focuses on process rather than the finished product. Personal
expression and experimentation are emphasized. A wide range
of independent animated films is screened to provide creative
stimulus and demonstrate a variety of aesthetic and technical
approaches. Class projects will be filmed with digital video
cameras, edited in iMovie, and output to DVD.
Fee: $100.00
M,T
1:00pm - 6:00pm
AUD 422/430
ARTE W402
ARTIST-TEACHER IN SCHOOL
3 credits
John Chamberlin
This course provides students from any major with the
opportunity to explore the field of teaching as a possible career
option beyond graduation. The course involves completing an
internship with an art teacher two days a week in either public
or private schools. Students enrolled in this course will,
hopefully, be able to translate some of their excitement for art
and design to the school setting and in doing so, become a
valuable resource to both the art teacher and his/her students.
Students taking this course are also required to attend and
participate in a weekly seminar to discuss their experiences and
to further explore a variety of issues related to teaching art and
design at the K-12 level. Selected readings, a directed
reflective journal, presentations, and a legacy project for the
assigned school are among the assignments for this course.
Open to undergraduate only
M,T
9:00am - 3:00pm 20WP 205 & Off-Campus
W
9:00am - 12:00pm
ARCH W204
ARCHITECTONICS
3 credits
Aki Ishida
An introduction to the principles of architectural design
beginning with a close examination of materials, forces and the
human body. The examination will progressively widen in
scope to include issues of form, space, structure, program and
site. This condensed architectural studio is intended for
freshmen and students outside the Division of Architecture and
Design.
M,T
1:00pm - 6:00pm
BEB 3fl
APPAR W302 BASIC APPAREL TECHNIQUES
3 credits
Anne Iacobucci
Basic Apparel Techniques introduces draping and flat pattern
making techniques used to design apparel. Students fit and pin
their muslin garments on the dress form. There is no machine
sewing. Selected from design assignments, a final project from
flat pattern to finished muslin is due at the end of course.
M,T
10:00am - 4:00pm
AUD 520
ARCH 2148
ARCHITECTURE AND DESIGN IN
THE AGE OF TRANSNATIONAL
TERRORISM
3 credits
Barbara Stehlé-Akhtar
The heightened threat of transnational terrorism has raised
difficult questions in the field of Architecture and Design. Both
the military and terrorists have made individual buildings the
focus of their attacks, a trend that may transform architecture
and urbanism in fundamental ways. Architecture of defense?
Of attack? Of wartime? Modification of codes of urban space
and living and construction techniques have tried to respond to
the changing times. The class will attempt to look at the
GLASS 4304
BEGINNING HOT GLASS
3 credits
tba
This course is a studio survey of glass as a three-dimensional
medium. The course explores traditional and non-traditional
techniques of glassblowing, casting, and coldworking. The
2
Wintersession 2010
3
ARTE 044G
COLLEGIATE TEACHING
REFLECTION AND PREPARATION
3 credits
Nancy Friese
Refer to the Course Announcement, Fall 2009 - Spring 2010
for the full course description. Graduate students and faculty
must register for this course in the Fall 2009 semester.
The goal of the seminar is to introduce reflective teaching
principles, to give an orientation of the collegiate teaching
experience, and to the parallel scholarship of teaching. This
professional practice course enhances the ability of graduate
students who have Teaching Assistantships at RISD and are
interested in future collegiate teaching within their expertise –
and for artists, architects, designers, and educators who also
want to improve or augment their skills.
This year long course meets during the Fall,
Wintersession, and Spring semesters (credit is applied only
after completion in the Spring) and incorporates The Sheridan
Center for Teaching and Learning Certificate Program 1 at
Brown University.
For more information, see:
greater part of the class is spent in the studio working directly
with glass.
Permission of Department Head required; with written
statement due at end of October.
Fee: $150.00
W,Th
1:00pm - 6:00pm
METC 411
ILLUS 5238
CARICATURE
3 credits
Fred Lynch
In this course students create and use caricatures, as illustrators
do, in response to a variety of assignments, such as political
cartoons, editorial profiles and commemorative stamps.
Caricature assignments are some of the most empowering
opportunities for illustrators. They invite the artist to cast
judgment on some of the most famous and powerful people of
the present, and the past.
W,Th
1:00pm - 6:00pm
ISB 407
http://www.brown.edu/administration/Sheridan_Center
CER W406
CERAMIC FORM & SURFACE
3 credits
Graduate Assistant
2D vs. 3D, form vs. surface. Investigation of how form
suggests the surface and how surface can redefine the form.
Various hand building and decorative processes are used.
Fee: $75.00
W,Th
1:00pm - 6:00pm
METC 314
Please note: A RISD graduate student cannot take the
Sheridan Center Certificate Program without taking this
Collegiate Teaching seminar.
Attendance begins in the Fall Semester only
Open to Graduate students
Also offered as GRAD 044G; register in the course for
which credit is desired
Permission of instructor required
Fee: one-time fee of $180.00, non-refundable, and billed at
Fall semester
Schedule individually arranged with instructor
CER W403
CERAMICS ON THE WHEEL
3 credits
Graduate Assistant (sections 01, 02)
Introduction to the techniques and vocabulary of wheel thrown
pottery combined with hand building. Emphasis is on the
interface between functional, aesthetic, and the conceptual.
Fee: $75.00
(01) M,T
1:00pm - 6:00pm (basement) METC 007
(02) W,Th
1:00pm - 6:00pm (basement) METC 007
ILLUS 5101
“COMICS: GRAMMAR OF THE
GRAPHIC NOVEL”
3 credits
Reid K. Johnson
Students will investigate the mechanics of comics storytelling
through a series of exercises designed to deconstruct the
comics language. Clarity is key to engaging the reader, and this
course emphasizes communication regardless of style.
Discussion will include a concise history of the medium and
the rise of manga and the graphic novel. This course is
structured around a series of cumulative exercises introducing
a new element of the comics language each week, designed to
equip the student for further work in this important art form.
W,Th
1:00pm - 6:00pm
ISB 203
DM 2010
COLLABORATIVE DIGITAL
DRAWING
3 credits
Colin Williams
For years, digital drawing and vectors have been used
commercially; but it has slowly been adapted by artists and
earned its right to be considered on level ground with other fine
art mediums. Instead of using digital drawing as a flat, screen
based medium, this class will expand beyond the screen and
begin to take on sculptural concerns. The structure of the class
if fairly open. The first week will feature workshops teaching
you how to use Adobe Illustrator. Most of the class will be
devoted to individual and group work time as well as critiques.
Two projects will be required, one of which will require a
certain level of collaboration. Attendance and participation are
vital. Grading will be based on these criteria as well as the
depth of the projects.
Th, F
12:00pm - 5:00pm
MASN/CIT 305
FAV W506
CREATURE-CREATION
3 credits
Erminio Pinque
Creature-Creation is a work intensive, multi-disciplinary
performance art class in which participants will be required to
research, design, build and theatrically animate their own
puppet-sculpture-costumes. Original and extraordinary
“creatures” will be developed by investigating 3-D foam rubber
building techniques in combination with experimental theater
games designed to improve movement, improvisational and
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TEXT W497
DEGREE PROJECT AND THESIS
PREPARATION
3 credits
Anais Missakian/Maria Tulokas
Open to Senior, Graduate; Independent Study
Textile majors only
storytelling skills. Class will take place at the NAZO LAB
storefront studio in the Smith Building, behind Providence
City Hall. The final project will be a high-profile public event
in collaboration with the Big Nazo Puppet Studio and members
of Providence’s Performing & Visual Arts Community.
Warning: Due to the considerable out-of-class-time work load,
this class is not recommended for students working on degree
projects, taking other classes, or seeking a low-key
Wintersession experience.
Fee: $175.00
W,Th
1:00pm - 6:00pm AUD 325 First meeting
FAV Black Studio &Off-Campus
ARCH 2197
DEGREE PROJECT RESEARCH
3 credits
Brian Goldberg
Serious research and a specific preparation begins in this
course, forming the theoretical basis for the creative
development of the Degree Project (Spring 6 credits). This is
a period in which the nature of the work is clarified, a process
is developed, possibilities are examined, and research and
information gathering completed. The research from this
course acts as an armature, establishing the attitude, objectives,
and significance of the thesis as an exploration of architectural
ideas, and forming the underpinnings for the work of the
coming semester. The result of this effort beginning in the Fall
with DP Prep and ending in the Spring, is gathered together
and reflected in the DP Book as part of the requirements for
completion of Degree Project. The work is reviewed at the end
of Wintersession; satisfactory completion of this work is a
prerequisite for the Degree Project in the Spring.
Architecture majors only
Schedule to be determined with Advisor
PAINT 4416
DADA NOW: THE HISTORY AND
PRACTICE OF POST MODERN ART
3 credits
Zuriel Waters
I want to teach this class; I want you to take it. This is a class
that should most likely not be taught since the processes and
practices of the movement known as “Dada” are probably not
even teachable. So, for the purposes of this course, Dada will
be treated as a living, viable model for artists who wish to work
outside of the established art-world conventions rather than as
simply as a moment in 20th century art history.
In this class we will attempt the numerous strategies (or
anti-strategies) artists have used to push beyond the zones of
art-world sanction, out into mainstream culture and back again.
These strategies will include everything from cut-ups, sound
poems, the construction of alter egos and spurious web
presences, happenings, nonsense protests, alternative living
situations, and more. Through the study of artists and art
collectives such as Marcel Duchamp, Hannah Hoch, Fluxus,
General Idea, Cindy Sherman, Laurel Nakadate, Nikki S. Lee,
Ryan Trecartin, Andrea Zittel, Bob & Roberta Smith, Thomas
Hirschorn and others we will see the growth and development
of a philosophy, or attitude that spans genres, media and
movements revealing what Andrei Codrescu describes as “the
germ cell of a rebellion against modes of dominant reason and
logic.” Our primary text will be Cordrescu’s Posthuman Dada
Guide: Tzara and Lenin play chess to be supplemented with
readings and videos by Tristan Tzara, Guy Debord Eugene
Ionesco, Allan Kaprow, Dara Birnbaum, Nam June Paik, Bruce
Nauman and others.
Students will be expected to fully engage in all group
activities, including the performances of classmates if
requested. Grading will be based on participation in class
discussions and critiques.
Fee: $30.00
M,T
1:00pm - 6:00pm
MEM 211
ARTE W62G
DESIGN EDUCATION STUDIO
WORKSHOP: PLACE-BASED
LEARNING
3 credits
Nadine Gerdts
This course is designed to build your vocabulary for
understanding the design of place and then provide
opportunities to use your skills as teachers of art + design to
translate that vocabulary into projects that can open up the
designed world to young people. We will look at design of
place and urban space from three vantage points relating to
children: PLACES FOR CHILDREN; PLACES AND
CHILDREN; and PLACES BY CHILDREN. To address these
issues, we will conduct a series of design exercises exploring
the urban environment working with scale, perspective, and
mapping elements of the city’s built and natural environment.
In addition, we will look at the local and global role of
sustainable design in the fields of architecture and urbanism
and work to develop ways to present these integrated design
challenges to young people.
Open to Graduate MAT students only
MFA’s with Permission of Instructor
W,Th
1:00pm - 4:00pm
20WP 205/215
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they may start on the computer, learning ways of using digital
technology to sketch, plan, and model outcomes in ceramics.
Fee: $75.00
M,T
9:00am - 6:00pm
MET 013
W
9:00am - 12:00pm
plus use of a computer lab to be determined
AD 1511
DESIGN & ENTREPRENEUR
THINKING
3 credits
William Foulkes
A fall 2007 Business Week article, Bruce Nussbaum wrote the
following: . . .society [is] undergoing huge change. . .the
answer to most problems is possibility, not efficiency. New
solutions make things better. Maximizing possibilities of what
could be creates value. This is what design can do. Design sees
around corners. And that is why this is design’s moment. Just
look around. What do you see? Our business models are
melting. Our healthcare models are collapsing. Our education
models are failing. And efficiency is not the answer. While
many will laud and applaud these comments, combining these
design skills and business skills does require careful thought,
planning and practiced execution. In this course through case
studies, lectures, and local company visits, we will introduce
the critical thinking and entrepreneurial thinking necessary to
capture design’s full potential for business. This course will
cover: Basic business skills and nomenclature; Identifying and
managing critical business challenges and opportunities;
Communication and analysis of design concepts for business;
Creating business plans for seeking financing, customers,
suppliers and employees; Understanding how your RISD skills
and experiences can create value in the marketplace.
Open to junior and above
Fee: $85.00
Th,F
9:00am - 12:00pm
CB 346
NMSE 1500
DIGITAL NATURE
3 credits
Cynthia Rubin
Many of the principles of natural form are unusually wellsuited to computer imaging: repetition, pattern, changes in
scale, camouflage, etc. Using resources in the Nature Lab, we
will find a way to infuse digital imagery with the organic
fluidity found in nature. The primary tools for the course are
imaging programs such as Adobe PhotoShop and Procreate
Painter, but the emphasis of the course is on developing a
strategy to create digital images reflecting a personal aesthetic.
An overview of photographic collage and computer imaging
are part of the course; no prior computer experience is
required.
Fee: $35.00
W,F
1:00pm - 6:00pm
MKT 207
NMSE 1509
DRAWING MARATHON
6 credits
Gwen Strahle
Intensive, perceptual drawing class meets from 9am to 9pm,
Monday-Friday during the first two weeks of Wintersession
and on Schedule B thereafter. A rigorous investigation of
drawing from the model and/or large set-up sprawling across
classroom. Deeper contact to the drawing experience through
sustained exposure. Opportunity for re-invention, change.
Confront problems of drawing, build on strengths. Emphasis on
drawing consolidation, concentration, stamina, persistence.
Regular critiques, slide talks, RISD museum trips. The goals of
this course are to facilitate and maintain a continuous flow of
drawing energy and examination. Students will re-examine the
way they make drawings, in a progressive drawing
environment. Through sustained contact with their drawing/s,
students will make personal advancement.
Fee: $150.00
M,T,W,Th,F
9:00am - 9:00pm
WATM 32,41,42,43
IDISC 7005
DESIGN SCIENCE
3 credits
Carl Fasano
Students explore the structure and grammar of threedimensional space using hands-on methods. We investigate
the symmetries and transformations of polyhedra by
constructing and deconstructing study models. Stability,
mobility, tensegrity, and dome structures are evaluated, and
students are encouraged to apply the principles learned to
architectural and sculptural designs. Students experiment with
pencils, paper, compasses, straight edges, scissors, exactoknives, sticks, and joints, to discover concepts before they are
named.
Fundamental principles of organization are
emphasized and rote memorization of definitions discouraged.
The course will stress method, experiments, and risk taking.
Fee: $75.00
W,Th
1:00pm - 6:00pm
CHAC 506
ARCH 2115
ENERGY: REALITIES AND
ALTERNATIVES
3 credits
Wilbur Yoder/Graduate Assistant
From Planetary to the Individual scale, the use of energy
productive substances and the global affects, is becoming a
major topic and condition of concern. What are our
alternatives?
This course will not only investigate the problems, but
look at possible natural alternatives. Some of these are - solar,
wind, geo-thermal, and ocean phenomena. The intent is to have
the students - individually or in teams - research, and then
investigate and apply at a small scale - possibly at residential
scale - one of the alternatives. It is expected that in addition to
CER 4110
DIGITAL CERAMICS
3 credits
Kimberly Wade
This class offers students an opportunity to explore the
potential of a developing interface of digital ideas and
technologies, and the ideas, materials, and processes of
ceramics. It will give students a command of digital tools that
will aid them in their contemporary exploration of clay.
Students will be introduced to such tools as 3D modeling
software like Maya, 3D scanning, rapid prototyping. Students
will develop individual projects. They may begin with clay or
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first unsupported, then over armatures, and gradually work up
to 7/8 scale for portraits and ½ scale for figures. While the
yield will be three well-resolved portraits and two figures, both
studied and invented, our underlying goal is the development
of form consciousness, a notion of what organic form is, the
idea of its integrity.
To handle the spatial reckoning rigors of this class,
students must possess solid drawing skills. They must have
earned a grade of B or better in Foundation Drawing.
The 6-credit class meets four days a week,
Monday-Thursday, 1-6pm, for six weeks. Students must be
prepared to dedicate Friday and one day each weekend for
additional, scheduled model sessions. They must be able to
carry on development and completion of assignments during
hours outside class time.
As there will be insufficient time for mold-making
or casting, students may choose to take away all finished works
and/or provide a blank CD for transfer of photo documentation
made by the instructor.
Prerequisite: Grade of B or higher in Foundation Drawing or
equivalent
Fee: $200.00
Estimated material cost: $100.00
M,T,W,Th,F
1:00pm - 6:00pm
WCS 101/102
the theory, there would be the development of numerical and/or
‘proto-type’ justification for the ‘small scale’ system.
Open to sophomore and above
M,T
9:30pm - 12:30pm
BEB 120
PAINT 4420
ENGAGED: VISUALIZING
CONTEMPORARY ISSUES
3 credits
Jennifer Lee
What are the visual possibilities for expressing contemporary
social and political issues? In the 19th century, painters
employed allegory, mythology and history to depict the events
and concerns of their own time in the “Grand Genre” or what
is known today as History Painting. These artists deftly used
legible narrative and visual conventions to convey moral or
intellectual messages of particular significance to their times.
For artists today who are interested in current events, the
template of History Painting serves as a rich framework for
investigating of the pressing political and social issues of our
own time. This class asks what would a today’s version of
Jacques-Louis David's "Oath of the Horatii" or Jean Auguste
Ingres portrait of Napoleon look like? Through readings and
slide lectures, we will investigate the inception of the Grand
Genre and its subsequent evolution as seen in the work of
contemporary painters such as Leon Golub, Neo Rauch,
Arnold Mesches, Robbie Conal, Komar and Melamid,
Wangetchi Mutu, and Anslem Kiefer.
We will be “looking back” through slide lectures and a
trip to the Boston Museum of Fine Art. Class discussions and
critiques will be supplemented by a variety of contemporary
texts on political art. Class assignments will be structured
expansively and not exclusive to a conservative painterly
attitude. Assignments will include political portraiture, 2-D
material based collage, a site-specific work, and finally a
mural.
Fee: $10.00
Th,F
8:00am - 1:00pm
MEM 210
PAINT 4532
FIGURE PAINTING
3 credits
Helena Wurzel
This is a comprehensive course introducing the fundamentals
of figurative painting. The course will focus on technical
approaches for figurative representation and include basic
ground preparation, under painting, and glazing medium skills.
Practicing line, volume, and color, the student will begin to
address balance and weight in studying the live model.
Although this course is based within the tradition of oil
painting, students will be encouraged to explore different
grounds and mediums. We will examine historical and
contemporary trends in figurative painting in conjunction with
the exploration of different methods of representing the figure.
M,T
1:00pm - 6:00pm
MEM 210
TEXT 4803
FABRIC SILKSCREEN
3 credits
tba
Starting with making their own screens, students learn various
stencil making methods for water base dyes and pigments. The
design of a continuous surface pattern with a repeating unit is
explored in printing. Printing of motifs and borders for the
form of a garment is included as well. Such methods as
dyeing, painting, and fabric construction can be used in
conjunction with printing.
Fee: $100.00
M,T
1:00pm - 6:00pm
CB 319 & 331
FAV W503
FILM EXPLORATIONS
3 credits
Laura Colella
This course is an introduction to the visual aspects of film
making. All projects are done in 16mm film. Camera skills
and editing techniques are explored in several short individual
projects. There are studio demonstrations of basic camera and
editing concerns. Final projects are made with soundtracks.
Fee: $195.00
M,T
1:00pm - 6:00pm
AUD 330
NMSE 1510
FIGURE MODELING MARATHON
6 credits
Alba Corrado
This intensive studio is based on the premise that study is an
abstractive process. We will begin at a very basic level to
define features of this process with exercises in form and small
studies of posed models. We'll use oil-based "Clean Clay",
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thoroughly covered throughout the semester.
Also offered as GRAD 2312. Register in the course for which
credit is desired.
Fee: $50.00
M,T
12:30pm - 5:30pm
MASN/CIT 003
TEXT 4819
FROM AN IDEA TO MEANING
3 credits
Harel Kedem
This course investigates the connection between the subject
matter, the initial intention, and the final result. The focus is
on the process using diverse media from charcoal, pen and ink
to acrylics. Although the class works from model, still-lives
and existing objects, these are used as symbols that express
ideas.
W,Th
1:00pm - 6:00pm
CB 512
INTAR 2300
FROM THIS TO THAT:
INTRODUCTION TO INTERIOR
ARCHITECTURE FOR NONMAJORS
3 credits
Patricia Roka
This course is primarily intended to provide some insight into
the design objectives of the studio projects of the
undergraduate and graduate degree programs of Interior
Architecture at RISD. As a studio introduction to Interior
Architecture for non-majors, the course will focus on the
spatial design concerns of the department focusing on how one
carves, creates and occupies built space. Projects will explore
the realm of work that begins with an architectural volume and
transforms it from the ill-used or obsolete, to new purpose and
viability, presented in drawings and models.
W,Th
1:00pm - 6:00pm
MASN/CIT 6th fl
PAINT 4417
FROM COLLECTION TO CREATION
3 credits
Lumin Wakoa
Artists are natural collectors. Highly personal collections of
ephemera – objects, photographs, letters, movie stills,
newspaper clippings – often become the source material and
inspiration for entire bodies of work. In this course we will
make use of each students personal collections and explore
various strategies of creating and organizing one’s own
archive. Many contemporary painters (Gerhard Richter, Franz
Ackermann, Luc Tuymans, Angela Dufresne, among others)
use archived imagery and information as their source material.
As a result meaning and metaphor is created in part through the
painting’s conceptual relationship to its original historical
source.
In contemporary art, the archive often functions as the
means by which historical knowledge and forms of
remembrance are accumulated, stored and recovered. In
addition to painters, we will also look at relevant artists
working across media who explore notions of “The Archive”
(Bernard and Hilla Becher, Thomas Hirschhorn, Tacita Dean,
and Sam Durant, among others). Each week there will be
projects that challenge students to mine their personal archives
and require them to arrive at inventive solutions within the
medium of paint. For students who don’t already have an
archive, various strategies for collecting and organizing source
material will be introduced. Possible assignments will include:
indexical drawings, observational painting from thrift shop
finds, painting on/over personal photographs, trompe-l'œil
painting from collaged paper memorabilia, and others. There
will be group critiques and readings (the primary text will be
The Archive: Documents of Contemporary Art) on a weekly
basis. The class will culminate in a final project of the
student’s devising that stems from concepts covered in the
course.
Fee: $10.00
W,Th
1:00pm – 6:00pm
MEM 107
GLASS 4323
GLASS SCULPTURE
3 credits
Jocelyne Prince
The first objective of this experimental glass class is to
investigate the potential of glass as a sculptural material. This
rigorous exploration entails many non-traditional and some
traditional techniques with hot and cold glass. Some of the
techniques students will learn are: innovative molds for blown
and cast glass; assembling glass (cutting, gluing); unusual
manipulations of hot glass; combinations of blown and cast or
kiln worked glass and some uncommon surface treatments. The
greater part of this class will be spent in the studio working
with glass directly. However, slide lectures, videos and an
artist-centered look into physics and optics will supplement
the, generally speaking, more intuitive approach of working
with glass. Collaborative and innovative work will be
encouraged as will investigations into the innate properties of
glass.
Permission of Department Head Required
Fee: $200.00
M,T
1:00pm - 6:00pm
METC 416
LDAR W207
GRADUATE SEMINAR:
CONSTRUCTING GROUND
3 credits
Mikyoung Kim
In this course, we will investigate the construction of a tectonic
ground. Explorations will focus on various architectural and
natural materials that define the experience of an unfolding and
evolving urban site. The primary vehicle of study will be
through a serial process of work developing different
permutations of ground manipulation and material
INTAR 2312
FROM IMMATERIAL TO MATERIAL
3 credits
Tucker Houlihan
This course provides students with the skill to fully transform
their 2D drafting skills into effective 3D forms. Through the
use of large stationary machines, power tools, and hand tools,
individuals will develop the ability to communicate their
design skills into highly involved, tangible forms. Numerous
hardware, fasteners, surface treatments, and finishes will be
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David Ellis, Lee Quinones, MF Doom/Madvillain, Rakim,
Aesop Rock, Digable Planets, De La Soul, and Antipop.
Fee: $10.00
M
8:00am - 1:00pm
MEM 107
T
1:00pm - 6:00pm
MEM 107
investigations. All students must have previous knowledge of
grading technology and have taken Design Principles.
Open to Graduate, Landscape majors only
W
1:00pm - 6:00pm
BEB 212
Th,F
9:00am - 6:00pm
GRAPH W344 HOT PRINTING
3 credits
tba
A studio course in which you can play with the creative
potentials of letterpress, wood and metal type. A chance to
create “print-things”, one-of-a-kind prints made from printers’
materials traditionally used to make multiple, identical copies.
Use the letter as constructive or a representational element.
Test your intuition and spontaneity by bringing printer’s inks
to all kinds of papers while exploring patterns, form and
counter-form, overprinting and more. Bring new life to
everyday words and sentences. Imbue letters with new magic
and create text with as yet unheard-of meanings. The course
also addresses the history and legacy of letterpress and the
power of mass production.
Fee: $50.00
W,Th
1:00pm - 6:00pm
DC 301 (Type Shop)
GRAPH W320
GRADUATE THESIS AND OPEN
RE/SEARCH
3-6 credits
(01) John Caserta (02) Robert Giampietro
This course is for graduate students in graphic design to work
independently on research or work that applies to their
graduate thesis (preparatory or advanced). Thesis work is
considered supplemental and not a substitute for the required
courses. The instructor serves an advisory role in all projects.
Students can register for three or six credits and must submit
accordingly a written proposal for work planned and criteria
for evaluation. Course meetings are arranged individually, or
with the group as needed.
Graphic Design Majors Only
Schedule Individually Arranged
MASN/CIT 5fl
PHOTO 5326
IMAGE BANK
3 credits
Lisa Young
Image Bank is an interdisciplinary course investigating how
new personal, social and political meanings can be generated
from disparate visual sources. Sifting through the sedimentary
layers of our experience of visual images (from high to
mundane), each student will create a personalized image bank
of at least 250 examples, including snapshots, postcards,
newspaper and magazine clippings, internet images and their
own photographs. What once seemed series of casually
accumulated images becomes something concrete and
intentional. Students will each create personal "rules" for their
collecting, yet be challenged to explore how meanings change
as they follow or bend those rules. Through collecting,
indexing, and juxtaposing images, students will hone their
skills as image interpreters and create new personal visual
languages for themselves. In the end, each student will have a
physical or digitized image bank to be used as source material
for future projects. Throughout the course, we will explore
artists whose work has focused on image collecting, including
Gerhard Richter, Douglas Blau, Buzz Spector, John Cage,
Martha Rossler, August Sander, Nina Katchadourian, John
Baldessari, Hanne Darboven and others.
Fee: $100.00
W,Th
1:00pm - 6:00pm
DC 315
PAINT 4421
HIP HOP AND THE PAINT DON’T
STOP
3 credits
Rubens Ghenrov
Despite its short history, Hip Hop has had an enormous impact
on global culture from the South Bronx to Japan to Africa.
Some of the most vibrant, pluralistic aspects of postmodern life
are drawn together under the aesthetic rubric of Hip Hop. In a
mere two and a half minutes, one is able to hear politics, sex,
spirituality, rants, praises, African rhythms, European
melodies, video game sounds and excerpts from Kung Fu
films. All compartments of life are brought together seamlessly
without the obliteration of its disparate and unique elements.
Within Hip Hop’s inclusive structure, the different methods of
creating and recreating art include sampling, remixing,
bricolage, narrative, collage, appropriation and pastiche. This
potential for endless reinvention and regeneration is the basis
and emphasis of this course.
Students will be introduced to the history and
methodologies of Hip Hop through documentaries (Style Wars,
Scratch) and short readings by Nicolas Bourriaud, Cornel
West, Russell Potter and Saul Williams. Each week new
painting projects will be assigned that utilize the formal
processes and methodologies of Hip Hop such as sampling,
repetition, pattern, text, appropriation, pastiche etc. Other
assignments will allow students to create a "moniker" —much
like a DJ or an Emcee —in order to flesh out and “perform”
personal narratives. The course will include class discussions,
group critiques and slide lectures focused on artists such as
Deborah Grant, Sanford Biggers, Trenton Doyle Hancock,
Christian Marclay, Chris Ofili, Doze Green, Mark Bradford,
DM 2011
INTELLIGENT SENSING AND
CONTROL
3 credits
Taehee Kim
Sensing and action is a core element in interactions. This studio
course provides students with a foundation in interactivity
design by introducing knowledge and practice about various
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skills beyond "point and shoot" and make more visually
controlled and compelling images.
Fee: $100.00
Deposit: $100.00
M,T
1:00pm - 6:00pm
DC 310
sensing and action mechanisms. Students are given lectures
and topics for discussions that include Cybernetics and control
theory, animal sensing, machine vision, Artificial Intelligence,
and Robotics. Often found in toys, examples of smart ad hoc
tactics for interactions using the characteristics of material,
relationships, and the environment are also introduced.
Students will carry out problem solving assignments then build
their own interactive or robotic works.
Th,F
12:00pm – 5:00pm
MASN/CIT 407
ID 2400
INTRODUCTION TO INDUSTRIAL
DESIGN
3 credits
Leslie Fontana
In this product design studio, we will dissect an existing
product, analyze a market segment, and redesign the product to
fit the described market. The methodology used to complete
this task will be accelerated, giving students an overview of a
typical industrial design process. Students will be exposed to
design drawing techniques, foam modeling methods, and the
concept of designing for consumers.
M
9:00am - 5:00pm
161S 400
W
9:00am - 12:00pm
161S 400
FAV W521
INTRODUCTION TO COMPUTER
ANIMATION
3 credits
Tammy Dudman
This course is designed to teach students how to utilize the
computer to create animation. Special emphasis is placed on
exploration and experimentation as it applies to
computer-generated or computer-assisted animation. The class
covers hand drawn non-computer originated animation, cut out
animation, computer generated drawn animation, painting
under the camera, rotoscoping, and an introduction to the
concepts used in 3D animation. Additionally, an introduction
to sound design and editing will be explored in the final
animation project.
Fee: $50.00
M,T
1:00pm - 6:00pm
MKT 207
FURN W502
INTRODUCTION TO
WOODWORKING TECHNIQUES
FOR FURNITURE DESIGN
3 credits
Hye Jung Park
This course will be an introduction to basic design techniques
for furniture design. The focus will be on developing concepts
through drawings and modelmaking. Simple hand tool
techniques will be introduced. Exercises in modelmaking and
design principles will develop an understanding of materials
and processes, culminating in a final product. Through a series
of short project assignments, students will explore the
relationships between concepts, techniques and built objects.
Fee: $50.00
M,T
1:00pm - 6:00pm
METC 117
APPAR W307
INTRODUCTION TO DESIGNING
FOR APPAREL
3 credits
Christina Rotelli
This course explores methods of creating apparel design
collections. The focus will be on techniques for developing
design ideas and communicating concepts through sketches,
and theme boards. Study will cover color, basic design
elements, fabrication, shape, and detailing. Skills will be
developed through various design and drawing assignments.
W
1:00pm - 6:00pm
AUD 525
F
11:00am - 4:00pm
GRAPH W336
INTRODUCTION TO GRAPHIC
DESIGN
3 credits
tba
An in-depth investigation of the principles and possibilities of
graphic design. Through a series of experimental exercises
incorporating drawing, collage, and the computer, students will
learn the fundamentals of graphic form, sequencing, image
making, communicating visually, and integration of type. Slide
presentations and lectures will introduce students to both the
history of graphic design and contemporary designers.
W,Th
1:00pm - 6:00pm
DC 901
PHOTO 5350
INTRODUCTION TO DIGITAL
PHOTOGRAPHY
3 credits
Matthew Clowney
This entry-level course in digital photography acquaints
students with the basics of image capture through a digital
camera or film scanning, non-destructive image file
management, resolution management, the Adobe Photoshop
workflow for image editing, color management, and inkjet
printing. Other image-editing software will also be introduced.
Students will need to have a digital (DSLR) camera with RAW
capture or a 35mm or medium-format film camera with manual
control of aperture and exposure time, as well as a portable
hard drive to store their work. No prior darkroom or digital
printing experience is necessary to take this course. This course
is designed for those who want to enhance their photography
ILLUS W571
INTRODUCTION TO ILLUSTRATION
3 credits
Shanth Enjeti
This course will be a survey regarding the concepts, techniques
and methodology of illustration specifically designed for
Freshman students who are considering illustration as a major.
Students will examine illustration genres, including book,
editorial and corporate illustration, while working with a
variety of methods and materials.
M,T
1:00pm - 6:00pm
ISB 205
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PAINT 4418
LET THEM EAT CAKE: PICTURING
CLASS, POWER AND EXCESS
3 credits
Jennifer Sim
The pre-modern era in painting dating from the 16th-19th
century has provided a vast array of art historical models that
continue to hold great relevance to artists working today.
Notions essential to our current understanding of the visual —
such as the artist-as-genius, art-for-art’s-sake and the
flourishing of genre (non-religious) painting — all rose to
prominence during this period. A reoccurring and rather
notable subject was the depiction of class and wealth. Excess
became a visual reflection of the seismic political and
economic transitions occurring throughout Western Europe
during this period. The artists that come from this particular
lineage such as Fragonard and Watteau and later Manet have
become historical antecedents for contemporary dandy-artists
such as Andy Warhol, Karen Kilimnik, Kehinde Wiley, and
Rosson Crow. The tradition that gave us glorious momento
mori and vanitas, nautical battle paintings and gilded portraits
of grandeur and privilege continues to hold relevance precisely
as it creates a frame for the myths and narratives that we long
to recreate in painting today.
This is a basic painting course that will allow students just
starting out to explore the possibilities of the medium.
Foundation skills such as preparing canvases, mixing colors,
and basic oil painting techniques will be discussed. Weekly
assignments will revolve around investigations into specific
genres. For example: Painting from a real still life set up to
articulate the concept of death/earthly pleasures with the goal
of contemporizing the context and meaning. Also, we will be
creating reenactments of specific subject matter in painting
such as the Fête Galante. How does this concept function in
our world today? Regular group critiques and discussions will
be supplemented with writings by Norman Bryson, Michael
Fried, Jonathon Neil and Carter Ratcliff. A mid-session trip to
the MFA in Boston will provide an actual and vivid experience
of the artwork.
Fee: $10.00
M,T
8:00am - 1:00pm
MEM 210
PHOTO W551 INTRODUCTION TO PHOTOGRAPHY
3 credits
Sections 01, 02, 03 tba
A study of basic photography as a visual language with an
emphasis on the medium as a means of personal expression.
Using 35mm cameras, students will investigate the techniques
of seeing through the production of photographic negatives and
prints. Assignments will be given to develop the students’
awareness of the fundamental elements of tone, texture, light
and form as conditioned by the technical possibilities inherent
in the photographic medium.
Fee: $80.00
Deposit: $100.00
Students must specify section number on registration form
Estimated cost of materials: $150.00 - $200.00
(01) M,T
1:00pm - 6:00pm
DC 417
(02) M,T
1:00pm - 6:00pm
DC 308
(03) W,Th
1:00pm - 6:00pm
DC 417
J+M 4443
JEWELRY CAD/CAM
3 credits
Brian Bergeron
This course will introduce the increasingly popular use of
computers in the Jewelry industry for design and
modelmaking. Students learn use ArtCAM Jewelsmith
software to make two-dimensional vector line drawings to
generate three-dimensional reliefs, and finally, machine threedimensional physical wax models using a small CNC milling
machine. The wax models are cast in silver by an outside
vendor. Although the technology involved with this class is not
limited to jewelry, the scale, materials, and projects of the class
are jewelry.
Prerequisite: Windows; Into to Jewelry preferred or equivalent
Open to everyone
Permission of instructor required; Priority to J+M majors
Fee: $55.00
M,T
1:00pm - 6:00pm
20WP 018
J+M W431
JEWELRY INTRODUCTION
3 credits
Sections 01, 02 tba
This course is an introduction to the fundamentals of design
and metal fabrication techniques for jewelry. Working with
precious and non-precious metals, students learn traditional
jewelry construction including sawing, filing, forming,
soldering, and polishing. A series of structured assignments
guide students as they transform their ideas into finished
pieces. Solutions for projects are open to enable the student to
explore his/her own aesthetic, but taught in a way to insure that
students master the basic processes.
Fee: $10.00
(01) M,T
1:00pm - 6:00pm
METC 205
(02) W,Th
1:00pm - 6:00pm
METC 205
TEXT 4816
MACHINE KNITTING
3 credits
Liz Collins
Students will learn the basic techniques of machine knitting
and explore the possibilities of structural effects, color, pattern,
and material quality within those techniques. They will also
learn about finishing methods--such as felting, dyeing, and
simple printing--that can be used on knitted fabric. Developing
further the most interesting results from this experimentation,
and according to their interests, students will create a knitted
fabric or finished piece for an end use, be it apparel,
furnishings, or studio art.
Fee: $75.00
M,T
1:00pm - 6:00pm
CB 210
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illustrators and painters past and present. Class time will be
divided between the computer lab (where students will
manipulate their images using Photoshop and other tools) and
the studio, where illustrations and paintings will be completed
using a variety of media, including pen and ink, watercolor,
and acrylic paint.
W,Th
1:00pm - 6:00pm
ISB 303/305
GRAD 031G
MAPPING THE INTELLIGENCE OF
YOUR WORK
3 credits
Anne West
This seminar is for graduate students who are preparing their
written thesis. Within the context of this writing-intensive
course, we examine the thesis form as an expressive
opportunity to negotiate a meaningful integration of our visual
work, how we think about it, and how we wish to communicate
it to others. In support of this exploration, weekly thematic
writing sessions are offered to open the imaginative process
and to stimulate creative thinking as a means of discovering the
underlying intelligence of our work. In addition, we also
engage in individual studio visits to identify and form a
coherent 'voice' for the thesis, one that parallels our actual art
involvement. Literary communications generated out of artists
process are also examined. The outcome of this intensive
study is the completion of a draft of the thesis.
Open to graduate students
Fee: $15.00
M
1:00pm - 4:00pm
MASN/CIT 105
T
9:00am - 12:00pm
ID 2452
METAL II
3 credits
Steven Santaniello
The objective of this course is to develop a more precise
professional and sensitive approach to design while broadening
the student’s technical base. Fastenings, measurings, and
layout techniques will be discussed. Precision machine tools
such as: metal lathes & millers will be introduced. Logical
design and set up approaches will be discussed. Outside design
work will be required with emphasis on engineering drawing
and sequence of operations. There will be a strong emphasis on
experimenting with the material in order to promote innovative
thinking and problem solving.
Prerequisite: ID 2451 or ID 245G
ID Majors Only
M,T
1:00pm - 6:00pm
161S 208
ARCH 2106
MATERIAL POTENTIAL
3 credits
James Dean
In this course we will research and discuss a variety of
materials, their physical properties and their applications.
Using furniture as our vehicle, we will explore how these
materials might be utilized, beyond their original intent. We
will also examine how the manipulation of these materials can
create new ideas in furniture. In the first half of the course
students will research, view, handle, and discuss a variety of
materials. In the second half, students will model and
construct, wither a 1/4 scale model, or a full scale detail of a
piece of furniture using a material selected from the research
done in the first half of the course.
M,T
12:30pm - 5:30pm
BEB 012
FURN 2512
METALS FOR FURNITURE DESIGN
3 credits
R. Michael Green
This course is an appropriate introduction to furniture design
in metal. The goal of this course is to introduce students to the
basic techniques of metal fabrication as they apply to furniture
design. Design issues will be resolved through a series of
drawings and models, and welding skills will be honed through
several preliminary projects. Students will be expected to
complete a piece of furniture.
Fee: $60.00
M,T
1:00pm - 6:00pm (Metal Shop) METC 020
PAINT 4711
MONSTER
3 credits
Jerry Mischak
This course will investigate cultural traditions of the
“monster”, broadly defined as an entity of horrific other-ness.
Monsters can be microscopic or gigantic, savage or pathetic,
infectious or predacious. Monsters of all sorts, real and
imagined, continue to invade our lives. Their narrative
depiction has developed culturally as a metaphorical
exploration of our deepest fears.
During the class our interest will be in a three dimensional
communication and transcription of monster related imagery.
While working with a variety of sculptural materials we will
stimulate imagination through films, slides, books and articles.
We will distill these influences into our own themes, grandiose,
frightening and seductive. Our goal will be to forge
connections between themes of fear from the distant, and those
of our present lives.
Th,F
1:00pm - 6:00pm
CB 610
ARCH W228
MATH AND PHYSICS REVIEW
3 credits
tba
“A potential influence for design.” Really? Really! The intent
is that this experience is an introduction, a review or just a
general interest course. Emphasis will be--due to the design
environment--graphic when possible, sprinkled with some
number crunching. Math: algebra, conceptual calculus, and
trig. Physics: sound, electricity, heat transfer and light.
W,Th
1:00pm - 4:00pm
BEB 120
ILLUS 5320
MERGING WORLDS
3 credits
Joe McKendry
The ability to merge imagery from various sources is an
essential skill for illustrators and fine artists alike. In a series
of projects, students will gather sketches, drawings and
photographs, and combine them to exist solidly and
convincingly together in space. We will discuss the
importance of lighting, color, and value in creating a believable
scene, and explore the methods and techniques used by
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nor reflection. This will not be a course about philosophy but
a course in philosophy – an experience in practicing
philosophical thinking.
Also offered as HPSS S124. Register into the course for which
credit is desired.
M
5:00pm - 8:00pm
BEB 219
T
1:00pm - 4:00pm
GRAD 089G
OBJECT LESSONS: THE ARTIST AND
DESIGNER IN THE MUSEUM
3 credits
Andrew Raftery
The ability to complete rigorous research concerning visual
objects and experiences is of great importance to artists and
designers at the graduate level. This interdisciplinary course
introduces graduate students from many fields to the range of
collections at the RISD Museum, helps them to identify
particular areas of interest, and guides them in focused research
relating to objects in the collections. Potential outcomes
include online exhibitions, articles, educational products, and
other significant research projects. The most important
objective is the internalization of a rigorous research ethic that
is applicable to all art and design endeavors.
The RISD Museum houses over 100,000 objects in seven
curatorial departments. Less than three percent of the
collection is on display at any time. Students are encouraged to
contact the instructor to discuss specific research plans within
the RISD Museum - [email protected]
Open to graduate level
M,T
9:00am - 12:00pm
DC 209
PAINT 4538
PAINTING FROM OBSERVATION
3 credits
David Frazer
This course is a comprehensive introduction to painting. It will
be a marathon of daily painting assignments designed to
develop confidence and experience with representational
painting. We will examine historical and contemporary trends
and paint from life models and photo sources. Fundamental
techniques for basic ground preparation, oil painting mediums
and direct as well as indirect processes will be taught.
Representational painting will be the primary focus but
experiences in abstract painting will also be encouraged. We
will learn abstract principles that organize composition, depict
spatial illusion and describe form while developing a shared
language in critiques. No prior painting experience is required
and Foundation students considering painting as their major are
encouraged to enroll, as well as majors from other departments.
Student are advised not to take a second Wintersession course
because of the commitment of time this course will require.
M,T
1:00pm - 6:00pm
MEM 307/311
ARCH 2124
ON IMAGINATION: A
PHILOSOPHICAL STUDIO
3 credits
Kathrin Stengel
“Thoughts without content are empty, intuitions without
concepts are blind (B 75).” In this famous statement from the
Critique of Pure Reason, Immanuel Kant encapsulates the
fundamental challenge to all theories of knowledge, namely,
the problem of the relationship between sense experience and
thought. Given Kant’s fundamental separation of
understanding and sensation, one has to wonder how thoughts
can access our sense experience at all, and how the latter can
be adequately conveyed through concepts. As we shall
discover, it is the mysterious power of the imagination that
makes our understanding come alive and transforms our sense
experience into knowledge.
In this philosophical studio, we will explore the crucial,
yet mysterious, phenomenon of 'imagination' and the role it
plays for the theory of knowledge. Not only can it be said with
Kant that we think because we imagine, it may also be claimed
that we only are, only exist because we imagine (following J.P.
Sartre, E.J. Furlong, Norman Doidge and Maurice MerleauPonty). We will start out with Plato and the myth of
Prometheus, in which the titan steals the fire from the Gods,
and, by handing it to humanity, sparks all forms of creative
expression. Just as many philosophers since Plato have called
upon reason to keep the indomitable imagination in check, all
the while giving it a prominent place in their theories of
knowledge, artists have embraced the imagination’s
provocative nature and benefitted from its creative force. We
will home in on this crucial intersection of Art and Philosophy
as it manifests itself in their mutual dependence on the
imagination, without which there would be neither creativity
PAINT 4541
PAINTING WITH
UNCONVENTIONAL MEANS
3 credits
Kanishka Raja
This is a painting course for students who use more than paint
for color. Weekly assignments will employ collage and
assemblage techniques to make works that explore a range of
material textures, opacities, transparencies, and reflectivities.
Experimental work and studio research will accompany the
introduction of new means and encourage the innovative use of
well-known 2-D tools. Weekly individual and group critiques
will follow studio work time.
Fee: $20.00
M
1:00pm - 6:00pm
MEM 107
T
8:00am - 1:00pm
ILLUS 5209
PHOTOGRAPHY I
3 credits
Henry Horenstein
A basic black-and-white course in photographic technique and
visualization. Students learn to use the camera, process film,
and make prints, as well as to apply creative aspects of the
medium. No prior experience in photography is required, but
students must have their own 35mm camera with manual
aperture and shutter-speed controls.
M,T
1:00pm - 6:00pm
DC 407/409
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TEXT W480
POJAGI AND BEYOND
3 credits
Chunghie Lee
Pojagi patchwork wrapping cloths have been used in Korea for
many generations in weddings and religious ceremonies, and
as various types of coverings in Korean households. The
traditional pieces use a triple-stitching technique called gekki.
The resulting seaming creates stiff, strong linear elements
which can be used as design elements in larger pieced twodimensional works, and can also present possibilities for use in
three dimensional sculptures.
Students will learn about the pojagi tradition through
slides and examples. They will learn the two special stitching
techniques using fabrics that include Korean silks. A number
of possible combinations with other media will be
demonstrated including: printing, dyeing, weaving, and
painting. Once the basic techniques are learned, students will
be encouraged to experiment, explore, and share, and to adapt
the technique to their own needs and interpretations. Their
projects may have either a fine art or design orientation, and
may include quilted works, functional textiles, clothing,
vessels, or body ornaments.
W,Th
1:00pm - 6:00pm
CB 510
13
FOR ALL PROFESSIONAL INTERNSHIP
COURSES, the Internship Application Form and
Internship Agreement Form are due in the Registrar’s
Office by January 11 to complete the registration.
Internships are graded Pass or Fail..
APPAR 8960
PROFESSIONAL INTERNSHIP
3-6 credits
Donna Gustavsen
This internship will provide apparel students an opportunity to
experience the apparel industry for six weeks of professional
practice. Most placements will be in New York and
Massachusetts. First preference will be given to seniors, then
juniors with proven ability. At the completion of the work
experience, interns are required to write a report about their
experience and sponsors are required to complete a student
evaluation. Interested students should contact the Department
Head early in the Fall semester to insure finding sufficient
positions. Students can earn a maximum of six credits.
Open to Senior
Permission of instructor required; Apparel majors only
Estimated Cost of Living Expenses: $2,000.00
***Off-Campus Study***
INTAR 2395
PORTFOLIO PREPARATION AND
PRODUCTION
3 credits
Megan Feehan
This class is primarily intended as a means for students in their
year of graduation from the Department to prepare their
portfolios for interviews with potential employers and for entry
to the professional world of design. Using computer programs
which will build upon knowledge already gained, the course
will be helpful to all those who wish to gain some knowledge
of techniques which will enhance the presentation of design
work already completed. This is an essential aspect of the
class, and should not be regarded as an opportunity to extend
further design work on earlier studios, although some
refinement of existing drawings will be necessary. InDesign,
Illustrator & Photoshop software required.
Interior Architecture majors only
M,T
12:00pm - 5:00pm
MASN 103
ARCH 2199
0 - 1.5 credits
Hansy Better
For students entering the program in Fall 2006 or thereafter, an
eight-week internship is required for all B. Arch and M. Arch
candidates. The internship is meant to be accomplished during
a single summer. IDP (Internship Development Program), the
required internship towards professional licensure, stipulates
that internships cannot begin until after the completion of the
third year for undergrads and the first year for grads. Students
must decide to count this internship either towards IDP or
academic credit. Those who choose IDP will receive zero
credits (0) and must substitute any three credit elective course
in order to earn adequate credits towards graduation. Those
who wish to receive academic credit will receive three credits
(3), but should be aware that any credits amounting to more
than 36 credits annually will be billed in addition to base
tuition. Summertime internship credit is counted toward the
subsequent year’s total accumulation. All students must
register for the internship in the Spring with the departmental
internship coordinator. International students must contact the
Office of International Programs to deal with immigration
requirements.
Permission of instructor required; Architecture majors only
GRAPH 3239
PRINT AND INTERACTIVE
PRODUCTION TECHNIQUES
3 credits
Mitchell Goldstein
This course will emphasize on the integration of digital
production techniques for print and screen. Working with an
array of software programs, students will develop technical and
aesthetic skills. Topics covered will include drawing skills,
resolution issues, file management, typesetting, offset
lithography and its preparation, managing file sizes for the web
and interactivity, Macromedia Flash animation techniques and
basic ActionScript coding for navigation.
M,T
1:00pm - 6:00pm
20WP 024
ARTE 8960
3-6 credits
Paul Sproll
This experience is intended to provide graduate students in art
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ID 8960
3 credits
Leslie Fontana
education with an opportunity to become participant observers
in one of a number of placement options including: elementary
or secondary schools, museums, galleries, arts’ agencies, and
community arts programs. Candidates are required to present
a written report and to complete a Professional Practice
Evaluation on completion of the assignment.
Candidates are required to contact Department Head, Paul
Sproll, Department of Teaching + Learning in Art + Design
during the fall semester in order to plan for the internship.
Advisor approval is required prior to the confirmation of all
placements. Professional Practice sponsors are required to
submit a letter of student evaluation on completion of the
assignment.
Open to Graduate MA Only
***Off Campus Study***
INTAR 8960
3-6 credits
Liliane Wong
Interior Architecture students may elect to intern at an offcampus professional office of practicing architects, interior
architects, industrial designers or physical planning agencies.
Students are required to make all pertinent arrangements and
receive Department & Division approval prior to
Wintersession, as follows:
From the student: The student’s completed Internship
Application Form must be accompanied by a project
description. (See form for required content.) International
students must also complete the CPT Request Form.
From the sponsoring organization: Documentation of
internship terms in the form of an internship offer letter (on the
letterhead of the sponsoring firm) must accompany the
Internship Agreement Form which has been completed by the
assigned outside supervisor. (Offer letter is required of ALL
students. Refer to Internship Packet Checklist ‘International
Student’ notes for letter criteria.)
All internships for credit must receive Department & Division
pre-approval. Three elective credits are available for those
who work a minimum of 20 hours per week for the six weeks
of Wintersession. A pass/fail grade will be assigned, at the
conclusion of the internship once:
I. The student has submitted the completed Intern Performance
Review form, accompanied by a written final report. The
student’s written account of the internship should evaluate the
educational experience gained in working with that particular
sponsor.
II. The Organization Supervisor has submitted the completed
& signed Intern Performance Review form.
CER 8960
3-6 credits
Larry Bush
FAV 8960
3-6 credits
Dennis Hlynsky
FURN 8960
3-6 credits
Rosanne Somerson
GLASS 8960
3-6 credits
Rachel Berwick
GRAD 8960
3 credits
Patricia Phillips
***Off-Campus-Study***
GRAPH 3289
3-6 credits
Bill Newkirk
The Graphic Design department allows up to 6 credits of
graphic design studies as practical internships in professional
studios. It is an opportunity primarily recommended for
upper-class undergraduates. All internships for credit must
have departmental approval (of placement and studio
qualification) and are administered according to department
guidelines. The assigned faculty from the department
administers this course and will present information about
requirements during the fall semester. This course is required
for the professional degree (BGD), but is not a requirement for
the BFA.
J+M 8960
3-6 credits
Tracy Steepy
LDAR 8960
3 credits
Mikyoung Kim
Off-campus professional experience in offices of practicing
architects, interior architects, landscape architects, industrial
designers or physical planning agencies. Students are required
to make all pertinent arrangements with the outside individuals
or agencies and to provide the BEB Office with the
supervisor’s name and sponsor address. Three professional
elective credits are available for those who work a minimum of
20 hours per week for the six weeks of Wintersession. A
ILLUS 8960
3-6 credits
Jean Blackburn
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PHOTO 5322
PROFESSIONAL PRACTICE IN
PHOTOGRAPHY
3 credits
Henry Horenstein
This course will cover the breadth of problems professional
photographers face, such as building a portfolio, promoting
work, finding jobs, keeping financial records, and copyright,
model releases, and other legal issues. These matters are
germane to all professionals, whether they are fine art or
applied photographers. Course work will include field trips to
Boston and New York to visit various photography
professionals.
Open to junior, senior, fifth-year, graduate
Photo majors only
Fee: $200.00
Th,F
9:00pm - 6:00pm
DC 308
pass/fail grade is assigned once the professional sponsor has
written a letter of evaluation.
Permission of the department head is required for all
internships.
PAINT 8960
3-6 credits
Dennis Congdon
PHOTO 8960
3-6 credits
Eva Sutton
PRINT 8960
3-6 credits
Henry Ferreira
A Professional internship is one of the central experiences of
a RISD Printmaking education. Students can participate in the
collaborative process between artist and printer in a fine arts
publishing shop, work with artist/printmakers in a communitybased print facility, learn the newest photographic and digital
print techniques in a state-of-the-art shop, assist an individual
printmaker in a private studio or choose from many other
educational opportunities. The department maintains
relationships with many printshops including, Solo Impression,
Renaissance Press, Pyramid Atlantic, Kala Institute and many
more. Internship advising begins in September. Internship lists
will be distributed and some printers will come to campus to
conduct interviews.
Fee: $20.00 Deposit: $75.00
ID 2301
RENDERING TECHNIQUES FOR
PRODUCT DESIGN
3 credits
tba
This course provides students with the opportunity to learn
various techniques for producing high quality, descriptive
renderings through multiple design exercises. The media that
will be explored throughout this course will be the use of
markers through different types of paper, pastels, colored
pencils, and digital drawings using Photoshop and similar
programs. Students should be aware that while this is a
drawing course, they are expected to have a general knowledge
of perspective drawing skills as the focus of this class is
towards producing renderings rather than sketches.
M,T
1:00pm - 6:00pm
161S 501
ILLUS W527
SCIENCE FI AND FANTASY
ILLUSTRATION
3 credits
Nick Jainschigg
This course will be a short introduction to Science Fiction and
Fantasy illustration in the form they are most frequently
seen--book covers. Subjects will include (besides the usual
aliens, futuristic looking machinery, and dragons) materials
and techniques, reference gathering, working with a
manuscript, working with the paperback format, etc . . . The
goal of the course is to familiarize the interested student with
the means and methods of producing a realistic illustration of
an unreal scene.
W,Th
1:00pm - 6:00pm
ISB 205
SCULP 8960
3-6 credits
Ellen Driscoll
TEXT 8960
3-6 credits
Anais Missakian
FOR ALL PROFESSIONAL INTERNSHIP
COURSES, the Internship Application form and the
Internship Agreement Form are due in the Registrar’s
Office by January 11 to complete the registration.
Internships are graded Pass or Fail.
ID 2504
SHAPE AND FORM IN METAL - THE
ENGLISH WHEEL
3 credits
Walter Scadden
Graceful compound curves in sheet metal have long indicated
the work of master level designers and craftsmen - from the
shapes of pre-war exotic European classic cars, to the sleek
experimental air craft of the 40s and 50s, to the exciting metal
forms found in architecture and sculpture today. Traditional
metal shaping skills provide an excellent foundation for
designers and research and development professionals. This
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understanding of the SolidWorks interface before taking this
course.
Fee: $100.00
M,T
1:00pm - 6:00pm
161S 502
course explores these skills using the English Wheel, Bead
rollers and Hammers and forms, etc. Students can expect to
learn the basics and create a project of their own design.
Approximately 40% of class time is lecture and demonstration
with 60% hands-on. A great deal of time is spent addressing
the problems of getting concept into reality, and the
complexities of working as a creative person.
Fee: $50.00
W,Th
12:30pm - 5:30pm
161S 208
DM 2012
SPACE IN NEW MEDIA
INSTALLATIONS
3 credis
Miguel Elizalde/Nipun Kumar
The goal of this course is to present how installation art is
related with Digital Technologies. In order to do that, the
classes will be articulated around the concept of space and how
digital media tools implement, augment, or reinterpret it. The
students will learn various technologies they can use and will
create a final piece using them.
Fee: $100.00
M,T
12:00pm – 5:00pm
MASN/CIT 407
DM 2015
SEAMLESS: FASHION +
TECHNOLOGY
3 credits
Kirk Mueller / Nathaniel Mueller
This studio course seeks to explore the intersection of fashion
and technology, often referred to as “wearable computing” or
“wearables,” and the issues that surround the integration of
technology into objects that are embedded, worn, or in close
proximity to the body. The course explores historical and
current examples of the intersection of fashion and technology.
Students have hands on experiences and in-class demos of new
materials like conductive thread, conductive paint, microcontrollers, sensors, electroluminescent and thermochromatic
ink, as well as other materials that allow technology to be
seamlessly integrated into fashion. The first half of the course
is reserved for hands-on demos, learning, and researching of
new materials. Lectures and readings will be accompanied by
in class discussions and guest lectures to provide context and
raise issues around technology and fashion or objects that are
worn on or in close proximity to the body. The second half of
the course is reserved for more advanced demos, open studio
time, and critiques of the final project. In addition to the final
project, a portfolio of sample materials is due at the end of
Wintersession. This portfolio contains samples of the materials
we’ve learned about all semester and give students a quick
reference for the integration of the materials into future pieces.
Schedule tba
TEXT 4800
SURFACE DESIGN
3 credits
Douglas Johnston
This is an introductory course in the design of patterns.
Proceeding through structured projects, the class focuses on
basic design issues and color as they apply to continuous
patterns. Students gain experience in finding ideas and
developing them into finished designs while learning to use
tools and techniques suitable for this medium. In Fall, or
Spring if offered at that time, the course is a requirement for
Sophomore Textile majors and an elective for non-majors. In
Wintersession, it is open to all majors.
Fee: $8.00
M,T
1:00pm - 6:00pm
CB 446
TEXT W498
TEXTILE DEGREE PROJECT
3 credits
Anais Missakian/Maria Tulokas
The student’s project, designed in consultation with the faculty,
can be in one of the textile areas or in combination with other
areas of the school. The project, which will be evaluated by
the faculty at the end of the semester, can entail a collection of
designs or fine arts work representing the current conclusive
state of students’ work or an investigation of a new area. If the
project involves such a new investigation, the final presentation
will consist of a review of the investigatory process. The level
of concepts, skills, and commitment constitute a major part of
the criteria in the evaluation of the work.
Textile majors only
ID 2402
SOLIDWORKS 2
3 credits
Adam Smith
Along with learning advanced SolidWorks techniques and
getting a chance to spend more time practicing the use of the
software, students will learn about designing for plastic as a
flexible elastic material. The flexible properties of plastic offer
designers many functional opportunities which static materials
like metal and wood do not cut. Students will get firsthand
experience developing plastic components with each student
project built as an ABS rapid prototype (from the Dimension
#D printer). The course offers students the opportunity to
explore and develop good design and form solutions towards
their ideas. CAD refinement of the ideas through SolidWorks
begins the final design simulation to a level of detail
appropriate for final manufacturing and portfolio. Thus,
students learn the process of developing ideas from rough
concept hand sketches to a final manufacturable product in
SolidWorks. Students enrolled in the course need a basic
ARCH W222
THE ARCHITECTURAL SKETCH
3 credits
tba
Drawing is thinking. For any designer, artist or architect,
drawing is a primary means of engaging an idea; the drawing
acts as an intermediary between one’s thought and the
intimated work. This workshop/studio will primarily focus on
the emotion of the travel or field sketch as an analysis of the
built environment: where one records something or some place
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Wintersession 2010
and thus comes to new understanding through the process of
drawing. To clearly express oneself, drawing insists upon craft,
which must be rigorously cultivated through practice. Students
are required to attend all classes and maintain sketch books
throughout the course. Most classes will be held indoors in
and around Providence sketching various architectural subjects.
We will primarily be working with pencil, however other
mediums may be explored.
M,T
1:00pm - 6:00pm
BEB 3fl
17
dynamic technologies. Artists have begun to project into the
future by retooling older analogue-based devices with
emerging technology in an attempt to blur the boundaries of
time. Through experimentation with the exchange between
digital and analogue, students can create works that capture
that dialogue. Students in this course will examine the history
of obsolete techniques and machinery - magic lantern, cabinet
of curiosities, tape cassettes, early film, and stereoscope - and,
simultaneously, link them to digital media. They will also learn
the language and logic behind the latest tools. This course
treats all the apparatus, both antiquated and contemporary, as
holders of time. Students will develop basic skills in computer
programming and physical computing to evoke the experience
of nostalgia found in analogue objects to establish a new
language through reinvention.
M,T
12:00pm - 5:00pm
MANS/CIT 305
FA 4765
THE ARTIST’S MACHINE:
ELECTRICITY AND ELECTRONICS
FOR ARTISTS
3 credits
Paul Badger
Students will learn the basics of electricity and electronics
while focusing on how to use micro controllers (one chip
computers) in conjunction with sensors, lights, motors,
switchers, audio signals, and basic mechanics in works of art.
Projects may include timekeepers, simple robots, and
interactive environments. Readings and slide/video lectures
will encompass artist-built machines and sculpture from 1900
to the present. Students should expect to spend time outside of
class reading and programming as well as designing and
constructing. No previous experience with electronics or
programming is required. Students should have taken a basic
computer art course, and ideally, a sculpture course. Computer
programming and machine shop skills are definitely a plus.
Not available to students registered in SCULP 4765, The
Artist’s Machine
Fee: $200.00
W,Th
1:00pm - 6:00pm
METC 301
INTAR 2319
the making of the int|AR journal
3 credits
Liliane Wong
The int|AR Jpurnal is an academic publication of the
Department of Interior Architecture that focuses on design
interventions and adaptive reuse. Students will be introduced
to the process of design journalism both from the standpoint of
an editor and from that of a contributor. Through working in
teams, the students will produce the common contents such as
a cover and the general layout as well as individual articles for
submission to the journal for publication in the next issue. The
course will be a combination of seminar style discussions and
design crits/reviews. Writing and graphic design skills are a
prerequisite to the course.
Open to graduate level students
Permission os instructor required
Proficiency with InDesign software recommended
T
9:30am - 4:00pm
MASN/CIT 611
W
9:30am - 12:00pm
ILLUS W563
THE COLLAGED IMAGE
3 credits
Jamie Murphy
This course will focus on the creation of expressive imagery,
through the combination of collage and mixed media. Students
will work with a wide range of media and collage elements,
including their own drawings and paintings, photographic
images and found objects. Techniques used for developing
layers of both texture and meaning will be explored and later
applied to specific illustration problems.
Fee: $15.00
M,T
1:00pm - 6:00pm
ISB 202/305
GRAD 120G
THE REAL WORLD: THE ARTIST
AS CULTURAL ENTREPRENEUR
3 credits
Catherine D’Ignazio
Being an artist in the real world means operating strategically
in regards to the modes of production and distribution for your
artwork. How do you find the resources – time and money and
space – to make work? How do you find, or create, the right
audiences for your work? How do you connect with peers,
partners, and collaborators to build a community of practice?
Most importantly, how do you bring the creativity you apply to
your artwork to your career as a whole? There is no one way to
be an artist, just as there is no singular "art world."
In this seminar, we examine the cultural ecology of
several real art worlds that already exist: the Gallery and
Museum World; the Fair / Festival / Biennial World; the
Residency World; the Academic World; the Grant World; and
the DIY / Alternative Space World. We also invent some
worlds that don't exist yet. Finally, we work on basic
professional strategies such as public speaking, documenting
DM 2013 THE GHOST IN THE MACHINE:
ANALOGUE TO DIGITAL TECHNOLOGY
3 credits Laura Alesci, Mary Burge
The past is hidden somewhere outside the realm, beyond the
reach of intellect, in some material object (in the sensation
which that material object will give us) of which we have no
inkling. And it depends on chance whether or not we come
upon this object before we ourselves must die.
--- Proust, Remembrance of Things Past
In multimedia art, nostalgia for analogue has grown with
the same energy that is behind the development of newer
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ARCH W202 03 TRANSFER STUDIO: URBAN EDEN IMAGING THE FUTURE CITY
6 credits
Anne Tate
Too often our predictions for the future are based on the
limitations we experience or fear and result in distopian visions
of the city. In this course, we will open our minds and
imaginations to the positive possibilities, considering what kind
of environments we could construct if we used all our
resources effectively and fairly.
Based on the idea that the key to the city of the future is
a new relationship to nature, we will consider the American
conceptions of nature from the Native Americans, the colonial
era, the frontier, the rise of the industrial city and the explosion
of the suburbs. We will explore ideas about nature: wilderness,
pastoralism, agriculture, the middle landscape, organic
farming, urban gardens, which have given form to our ideals of
the landscape and the city. We will reconsider how to integrate
nature and the city in a new paradigm.
Each student will be asked to create a contributing idea,
image, or design to a utopian conception of life in the city.
These will not be fantasies but projections that are well
grounded in current and near-future strategies and
technologies. Encompassing a wide range of issues, individual
projects will complement and expand on each other. The
projects will be reviewed for inclusion in a publication.
Open to 2nd year M.ARCH, Junior or above B.ARCH
ARCH/INTAR/LDAR majors only
MTWTHF
9:00pm - 6:00pm
BEB 3fl
your work, writing skills, following protocol – the curriculum
vitae, the artist statement, the teaching philosophy, the artist
talk – and/or strategically rejecting that protocol.
Open to graduate students
M,W
1:00pm - 4:00pm
MKT 203
ILLUS 5323
THE TWO LEGGED-PRINT
3 credits
Randy Willier
This course is meant to give students an understanding of the
process of serigraphy. Using the basic American T-shirt as the
format, emphasis will be on creating and developing a concept,
learning and implementing the techniques of silk-screen in
order to produce wearable illustration. The course will also
include historical and contemporary issues on the phenomenon
of the printed shirt, i.e. uses ranging from social protest to
advertising and the use of the body as a substrate for images.
A variety of techniques will explore everything from simple
handmade stencils to the use of photo/computer technology to
create individual designs. Assignments will be given through
the developmental phase and in class critiques will play an
important role in determining the final product. By the end of
the semester students will also investigate the
business/commercial side of silk-screening, including at home
studio set-up, record-keeping and selling their product.
Fee: $200.00
W,Th
1:00pm - 6:00pm
ISB 105/206
108 (Print Room)
TEXT W470
THE WOVEN RUG
3 credits
tba
Rugs and floor-coverings from different counties and cultures,
both historical and contemporary, will be shown as examples
of how material and design are developed within a cultural and
functional context. This will serve as a foundation for
students to develop their own vision and sources of inspiration.
Each student will design and execute a woven rug intended for
a specific use and/or space.
Students will learn to set up the loom and will experiment
with a variety of rugmaking techniques for both flat and pile
surfaces. Exploration with a wide range of materials, from
wool to reeds to plastics, will be encouraged to find new
solutions for each project. Special yarn dyeing techniques will
be taught as a way to expand the range of color effects.
Fee: $35.00
W,Th
1:00pm - 6:00pm
CB 312/331
PAINT 4419
TV IN 2D: PAINTING A TELEVISED
WORLD
3 credits
Julie Leidner
In 1964, only a decade after the mass influx of television into
the average American household, Marshall McLuhan declared
that TV is as much of an economic staple or natural resource
as cotton or oil, as it has the power to shape social patterns of
organization and affect “the entire psychic life of the
community.” Forty-five years and countless technological
upgrades later (TiVo, You Tube, Hulu, etc.), theorists and
artists are still investigating the ways in which the visual
language of television has flavored our culture and informed
our perceptions of our environment. Painters who have
acknowledged this phenomenon in their work (Mary Heilman,
Luc Tuymans, Raymond Pettibone, Jeremy Blake, Judith
Eisler, to name a few) are presented with their own challenges
when confronting these images: How do the formal properties
of time-based media relate to a still, two-dimensional surface?
What is the difference between the electric light and color of a
TV or computer screen and the constructed light and color of
a painted canvas? What common denominators can be found
and explored between painting and electronic media,
conceptually and/or aesthetically?
This is a beginning painting class, and students will learn
basic painting skills such as building and preparing surfaces,
ARCH W202
TRANSFER STUDIO
The transfer studio is required of second-year transfer and
graduate students. Priority registration is given to these
students. Other eligible students may register if space is
available. Studio topics vary. Register through the Department
of Architecture.
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participation during critiques and meeting project deadlines.
Attendance is essential. Students are responsible for all missed
work.
Fee: $100.00 Deposit: $50.00
Prerequisite: Macintosh experience
W,Th
1:00pm - 6:00pm AUD 125 (Blue Studio)
MKT 204
GRAPH 3271
WEB DESIGN
3 credits
tba
Designing for the internet requires a solution that embraces the
web as a communication medium while providing for a unique
user experience. The goal is to strike a balance between form
and function, between visual design and effective
communication. This course will cover the latest methods of
web design, development, and production including standardsbased XHTML, CSS, Javascript and media integration. From
beginners to those with more experience, students will learn
the most current techniques for planning, designing, building
and testing a fully functional website start to finish.
Requirements: Students must be comfortable with Adobe
Photoshop. Students must provide their own laptop (Mac or
PC) loaded with Photoshop and an HTML editing program
(Dreamweaver, BBEdit, GoLive, etc.).
W,Th
1:00pm - 6:00pm
DC 704
mixing colors, and discussing form and content in group and
individual critiques. Possible assignments include: a group of
small narrative works that employ the serial formats of sitcom
and soap operas; an investigation of the iconography, visual
effects, and light attached to science fiction and the
supernatural; ritualized competition as entertainment, as
portrayed in sporting events and reality TV. Each student will
be asked to keep an inclusive inventory of the ways in which
TV has shaped their life and work and that of their society.
This personal inventory is intended to provide source material
for beginning painters to construct their own unique images
and ideas and translate them onto paper and canvas. Several
short readings and weekly screenings of films and TV clips
will form the basis of class discussions and will coincide with
projects intended to open avenues of critical awareness and
encourage material creativity.
Fee: $10.00
W,Th
1:00pm - 6:00pm
MEM 210
ILLUS 5263
TYPE IN MOTION
3 credits
Rafael Attias
Learn basic typography, page layout and the many new and
evolving applications of computer generated art. This class
will introduce the basics of QuarkXpress, Illustrator and
Photoshop. We will explore type in motion and the marrying
of visuals and music in time.
M,T
1:00pm - 6:00pm
ISB 303
ID W257
WOOD II
3 credits
Charlie Appleton
The intent of this course is to advance the student’s knowledge
of wood working techniques, processes and a sensitivity to
wood. In this course, the table saw, joiner and planer are
introduced along with advanced techniques using plywood and
solid wood construction including veneering, joinery, bending
and shaping. The design process will be explored through
building. Technical demonstrations will be followed by a
series of woodworking projects.
ID Majors Only
Prerequisite: ID 2455 or ID 245G
Fee: $85.00
W,Th
1:00pm - 6:00pm 161S 101 (Wood Shop)
GRAPH W322 TYPOGRAPHY ELECTIVE
3 credits
Section (01-02) tba
The objective of this course is to introduce the student to the
basic concepts, skills and processes of typographical design.
Design problems will be assigned to investigate fundamental
aspects of typography (organization; proportion; composition;
space; texture; rhythm and meaning). Projects may include the
design of such objects as letterhead, packaging and poster.
Please note: Some Graphic Design transfer students will be
preregistered.
(01) M,T
1:00pm - 6:00pm
DC 704
(02) M,T
1:00pm - 6:00pm
DC 501
Section (02) is open to sophomore and above
ID 2425
WORKING WITH HANDTOOLS
3 credits
George Gordon
This exciting and physically active course will allow both the
inexperienced and more advanced student to explore the active
principles of how wood is worked and shaped. The first half of
the course will cover the most important principles and
woodworking tools. During the second half each student will
develop a project of choice, based upon experience, to be
completed by the end of Wintersession. The only electrically
powered machine used in class will be a water wheel grinder.
M,T
1:00pm - 6:00pm
161S 400
FAV W519
VIDEO EXPLORATIONS
3 credits
Martha Swetzoff
This is a basic introduction to making electronic moving
images. The intent of the class is to use the short project format
to guide the student through several basic elements found in
the video medium. Students must participate by inviting
constructive criticism from the class. Grades are influenced by
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Wintersession 2010
CER W40G
WRITTEN THESIS: 2ND YR. GRADS
3 credits
Larry Bush
The purpose of this course is to prepare a written thesis. You
will be required to develop an outline, bibliography, and first
and second drafts. Completion and presentation will be during
the following spring semester.
Open to Graduate, Required Professional
Restricted to Ceramics 2nd-Year Students
M,T
1:00pm - 6:00pm (First meeting) METC 307
ILLUS 5233
XX/YY
3 credits
Melissa Ferreira
In this course, we examine gender-not your biologically
assigned equipment but those social constructs which shape
and define what is male and what is female. Illustrations pivot
around the traditional role of women and men in American
culture. We'll turn past and present stereotypes inside out, flip
popular icons upside down, and rework familiar images from
hallowed museums. Assignments may require an informed
portrait of a notable activist, a gender-blurred composting of a
distinctly guy's guy with the ultimate woman, or a guerrilla girl
rewrite of art history. Other illustration problems may require
wholly fresh depictions of abstract concepts like conception,
contraception, relationships, power, etc. This course shifts
radically between male and female-centric themes and offers
equal opportunity for XX's and XY's.
M,T
1:00pm - 6:00pm
ISB 206
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Wintersession 2010
Liberal Arts Offerings 21
ARTH H563
ARCHITECTURE AND
PSYCHOANALYSIS
3 credits
John Hendrix
This class explores the role that psychoanalysis plays in formmaking in architecture. It examines concepts prior to
psychoanalysis which suggest the unconscious and subjective
experience, in mystical philosophies and theologies, the
Romantic subconscious, and Idealist subjectivity, and their
relation to architecture. The class then examines the discipline
of psychoanalysis, as defined by Sigmund Freud, and its
influence on Surrealist architectural forms. Finally, the class
examines the combination of Freudian psychoanalysis and
Structural Linguistics in the work of Jacques Lacan, and its
influence on Deconstruction, and modernist and post-modernist
forms and agendas in architecture in the twentieth century.
M,W
9:00am - 12:00pm
CB 346
Liberal Arts
ENGL E422
ADVANCED FICTION WRITING
WORKSHOP
3 credits
Ann Harleman
The advanced workshop assumes that students have some
experience with writing fiction and are ready for an
environment which will challenge them to hone, revise, and
distill their craft. A writer begins inspired by dreams, language,
a face in a crowd. But inspiration is only the beginning of a
writer's work. In this course we'll study form, theme, voice,
language, character, and plot. We'll also read and talk about
stories by masters of the craft. The aim of the workshop is to
help you discover what your stories want to be and fulfill the
promise of your original vision.
W,F
1:00pm - 4:00pm
CB 424
ARTH H713
ART IN THE AGE OF ALEXANDER
3 credits
Peter Nulton
Alexander the Great is one of the most significant figures in
ancient history, and the culturally diverse empire he created
gave birth to new trends in art characterized by hybrid styles
and innovative new kinds of artistic propaganda. The study of
the place of art in such a multicultural society has implications
for the interpretation of art’s role in the modern world. This
course will discuss the way Alexander and his successors
controlled their image in art and the styles of sculpture,
painting, architecture, and urban planning that were
precipitated by the socio-political changes brought about by his
conquests.
W,Th
7:00pm - 10:00pm
CB 431
HPSS S729
ANTHROPOLOGY OF MATERIAL
CULTURE
3 credits
Llerena Searle
In this course we will tackle questions about power, value, and
meaning by examining the humble objects of daily life: things
like clothing, buildings, baskets, masks, and tools. We will
investigate the role of objects in human communication and
social relations across cultures: how do people use objects to
communicate, interact, rebel, and understand the world around
them? As we answer these questions, we will also explore the
importance of cultural context for understanding the things
people make and use. We will pay particular attention to the
role of material culture in capitalist societies by exploring the
processes whereby things become commodities; by
investigating the relationship between style and the social
order; and by questioning the interrelationships between design
and contemporary capitalism.
M,W
9:00am - 12:00pm
MKT 203
ARTH H573
ART & TOTALITARIANISM
3 credits
Marcin Gizycki
This course will study art of totalitarian regimes, first in the
Third Reich and the Soviet Union under Stalin, but also in
Fascist Italy, the People’s Republic of China, and other
countries. We will look for similarities between art works
produced in these countries as well as significant differences.
The goal of the course is to show how totalitarian ideology
translates into a specific art idiom intended for mass
consumption. The broad historical background will also be
discussed.
W,Th
1:00pm - 4:00pm
CB 412
LAEL LE21
ARCHITECTURE AND DESIGN IN
THE AGE OF TRANSNATIONAL
TERRORISM
3 credits
Barbara Stehlé-Akhtar
The heightened threat of transnational terrorism has raised
difficult questions in the field of Architecture and Design. Both
the military and terrorists have made individual buildings the
focus of their attacks, a trend that may transform architecture
and urbanism in fundamental ways. Architecture of defense?
Of attack? Of wartime? Modification of codes of urban space
and living and construction techniques have tried to respond to
the changing times. The class will attempt to look at the
delicate subjects of architecture and terrorism from a historical
and cultural point of view, exploring the theoretical debates as
well as investigating the more technical fields.
Also offered as ARCH 2148. Register into the course for which
credit is desired.
T
6:00pm - 9:00pm
BEB 120
W
9:00am - 12:00pm
ENGL E342
BEAUTIFUL LIES: AUSTRALIAN
HISTORY IN LITERATURE AND
FICTION
3 credits
Elizabeth Mead
Mark Twain wrote: “Australian history is almost always
picturesque; indeed, it is also so curious and strange, that it is
itself the chiefest novelty the country has to offer and so it
pushes the other novelties into second and third place. It does
not read like history, but like the most beautiful lies; and all of
the fresh new sort, no mouldy old stale ones. It is full of
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22 Liberal Arts Offerings
Wintersession 2010
questions. What is the relationship between the history
presented in Vietnam War films and the history of the era as
presented by professional historians? How might these films
shape popular understandings of the war? How might these
films act as cultural artifacts offering insight into American
political discourse at the time of their production? Assignments
will include reading, discussion, and written reactions to the
films. You will need no particular background in history, film,
or cultural studies to learn from and enjoy this course.
W,Th
7:00pm - 10:00pm
CB 346
surprises and adventures, the incongruities, and contradictions,
and incredibilities; but they are all true, they all happened.”
(1897) This course will look at the intersection of history and
fiction in contemporary Australian writing. Authors we will
read may include Peter Carey, Richard Flanagan, Gail Jones,
Tracey Moffat, David Malouf, and Tracey Moffatt.
Th,F
9:00am - 12:00pm
CB 434
ENGL E242
BOB DYLAN: ‘BUT IT AIN’T ME
BABE’
3 credits
Zenon C. Rabbe
This course will deepen our understanding of Bob Dylan’s
creative work, explore his life and career, offer insight to the
historical periods he has reflected upon, and examine the
influence of his music. While he has never had a number one
hit and hasn’t even broken the Top 40 since 1979, the decades
have proven that Dylan’s popularity remains strong and his
message reaches millions. He plays 100 live shows a year. His
recent accolades have included Grammy Awards and an Oscar
Award. Martin Scorsese has directed a documentary No
Direction Home that has, with Dylan’s participation, shed new
light on the early part of the musician’s career. We will attempt
to discover multiple levels of meaning in Dylan’s songs
through many approaches, including but not limited to
personal, biographical, social, psychological, political, and
religious. We’ll also analyze performances of his songs, the
vocal and musical composition.
M, T
1:00pm - 4:00pm
CB 302
ARTH H476
CONTEMPORARY AFRICAN ART:
THE NIGERIAN EXPERIENCE
3 credits
Bolaji Campbell
This course focuses on contemporary art in and out of Africa,
with specific reference to Nigeria. Our objective is to situate
Contemporary Nigerian Art within the dialectics of modernism
and postmodernism beginning first with the colonial
implantation of the "modernist" trend in Africa. We examine
the impact of the implantation on the artistic vision and
direction of the major artists in Africa, while highlighting the
careers of their counterparts operating outside the continent
within the postmodernist currents of Paris, New York, London,
Berlin, etc.
M,W
9:00am - 12:00pm
CB 521
ARTH H450
DESIGN IN CONFLICT: ART AND
WAR IN EARLY MODERN EUROPE
(1400-1800)
3 credits
Jonathan Tavares
Today war is often thought of as the antithesis to art and
culture, but in the early modern world it was one of many great
stimuli to the arts of design in all media. Weapons were
adorned like jewelry, while armor imitated the fashion of the
finest silks. Society often boasted the ‘glories’ of war not only
in song, literature, and speech, but also in visual and material
culture. This seminar course will study the material remains of
this culture of conflict and pageantry by examining why
objects such as plate armor and firearms often mirrored and
influenced the height of fashion. Other themes will include the
pageantry of tournaments, the image of war in popular cultureboth its glories and miseries, utility vs. ornament, fashion and
the battle field, the development of new technology and
mechanics, and finally the perceived change in mentality with
the ‘industrialization’ of war. This course will include a
fieldtrip to the Metropolitan Museum of Art in New York to
view relevant material.
Fee: $100.00
M,T
9:00am - 12:00pm
CB 442
ENGL E640
BRECHT & FO: RADICAL
THEATER
3 credits
Mark Sherman
In somewhat antithetical ways Bertolt Brecht (Germany,
1898-1956) and Dario Fo (Italy, b. 1926) undertook the task of
transforming the modern theater into a platform for radical
social and political change during the first and second halves,
respectively, of the twentieth century. This course will offer an
introduction to both the theories and major works by Brecht
and Fo. Works by Brecht will include the theoretical treatise
A Little Organum for the Theater, and plays such as Mother
Courage and Her Children, The Life of Galileo, The
Three-Penny Opera, and The Good Woman of Sezuan. From
Fo's work we will read Tricks of the Trade, which relates his
theories of theatrical performance, and the plays Mistero Buffo,
Accidental Death of an Anarchist, Can't Pay? Won't Pay!, and
Trumpets and Raspberries.
Th,F
9:00am - 12:00pm
CB 521
HPSS S708
CINEMATIC REPRESENTATIONS
OF THE VIETNAM WAR
3 credits
David Fitzsimons
Most young people have developed their perspectives on the
Vietnam War primarily through the medium of film. We will
examine several of the most popular movies about America's
longest war, such as "Apocalypse Now," "Platoon," and "Full
Metal Jacket." We will explore in particular the following
LAEL LE68
ENVIRONMENTAL DISASTERS
3 credits
Bonnie Epstein
Natural and man-made environmental disasters dominate the
news – flooding, earthquakes, climate change, water pollution
and more. Some can be predicted, some can be avoided, and
some can be mitigated. But how? In this course, we will
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Taped interviews with contemporary directors, actors,
cinematographers and writers will let us hear from the artists
themselves. Readings, video screenings, discussions, exercises,
final project. Warning: The course involves a good deal of
writing, and the films are sexually explicit.
M,T
1:00pm - 4:00pm
CB 424
explore how the natural world works, and how this working is
evident in some of the most pressing environmental issues of
today. Learn why you might not want to invest in that
beachfront property, how the Burma cyclone was like
hurricane Katrina, and whether it’s wise to place a swimming
pool on that scenic overlook. No prior science background is
required.
Fee: $25.00
T,W
9:00am - 12:00pm
WATM 11
LAEL WL17
FILM INVESTIGATIONS
3 credits
Michael Fink
We explore both narrative and nonfiction films and videotapes.
We write essays to establish critical standards. We produce
personal film essays by raiding the family album of photos and
movies. The course thus aims to combine the humanist
perspective with a recognition of actual production. We draw
our films from many sources. We draw our readings from a
wide range of film journals and establish a shelf of reserve
reading material in our library.
These sources are incorporated into our discussions and
reports. The course requires a class presentation about a film
shown and a visual project in film or slides.
Fee: $35.00 for Film/video rentals
M,T,W
9:00am - 12:00pm
CB 412
ENGL E269
EXTREME FICTION
3 credits
Elaine Craghead
Most mainstream fiction is realist in form and narrative in
style. These stories generally have a beginning, middle and
end, and adhere to a formula that includes rising action, climax,
and denouement. The fictions which we will examine in this
course, however, may have few or none of those qualities:
they may be nonrealist, nonnarrative, postmodern, or fall
somewhere between and among these categories, but they
provide a counterpoint and challenge to preconceived notions
of what a story ought to look like, how it should unfold, and
even what relationship the readers should have to the text. We
will begin the course with some more traditional stories and
then move directly into examining alternative fictions. The
readings will likely be selected from texts written by the
following authors: Donald Barthelme, Kathy Acker, Italo
Calvino, Ishmael Reed, Pamela Zoline, Angela Carter, Ursula
LeGuin, Kurt Vonnegut, Stephen Dixon, Michael Wilkerson,
Karen Brennan, and others. In addition to the readings,
students will be required to give a presentation (with at least
one other member of the class), write several responses, and
take a final exam.
M,T
9:00am - 12:00pm
CB 424
HPSS S562
FREE WILL AND DETERMINISM
3 credits
James Yess
Are the actions of human beings subject to the same causal
laws by which all other beings in the universe are governed?
If so, then some philosophers believe that we never have free
will. Others claim that human freedom is not exempt from the
causal chain of events, yet the term "free will" can be
appropriately applied to our actions. Still other philosophers
believe that human beings, when consciously directing their
own actions, have a special status in the universe allowing us
to override, at times, the causal influences in our lives. The
enormous social, political, and personal consequences to these
various responses will be explored. T h r o u g h m a i n l y
contemporary readings, this course will investigate the
philosophical problem of free will. Central to this exploration
will be various theories regarding determinism, indeterminism,
freedom, compatibilism, incompatibilism, and moral
responsibility. The objective of the course will be met through
lecture, discussion, student presentations, examinations, and a
term paper.
W,F
1:00pm - 4:00pm
CB 431
ARTH H620
FEMMES FATALES AND DOMESTIC
NUNS: IMAGES OF WOMEN IN 19TH
AND 20TH CENTURY WESTERN ART
3 credits
Agnieszka Taborska
In European and American art of the 19th and early 20th
centuries, women were often presented in extreme ways: either
as blood-thirsty creatures from Greek mythology, as Salome
obsessed with the decapitation of a lover, as poison flowers and
vamps; or as personifications of love and virtue, household
angels, noble virgins dying out of self-sacrifice. The literature
and, later, cinema supported this dichotomy that can be still
traced in contemporary culture. In this course we will analyze
the images of blessed and cursed women in Western art of the
last two centuries.
W, Th
1:00pm - 4:00pm
CB 346
HPSS S692
FROM PAPYRUS ROLL TO PRINTED
TEXT: THE HISTORY OF THE BOOK
3 credits
Burton Van Edwards
From the 3rd to the 16th century the book has been the primary
vehicle for the preservation and dissemination of cultural
information in European civilization. This course will explore
the evolution of the book from an inconvenient and fragile
papyrus roll to the emergence of the modern printed book in
the early modern period. We will examine how form and
function interact to produce dramatic transformations in the
book, a process which correlates to major stages in the cultural
ENGL E370
FICTION INTO FILM
3 credits
Ann Harleman
How do directors transform fiction into film? In this course
we’ll see several films and read the novels on which they are
based. We’ll talk about the ways in which their makers use two
very different art forms to render the same (or is it?) material.
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Wintersession 2010
include a creative component.
M, W
9:00pm - 12:00pm
history of Europe during these centuries. Beginning with
changes in material support (papyrus to parchment to paper)
and combined with the invention of new styles of handwriting,
an increasing preoccupation with the grammar of legibility and
increasingly sophisticated page layouts, the ever-changing
nature of the book reaches its culmination with the invention
of printing in the 15th century. At the same time, the class will
study the social institutions that interacted and fostered the
transformation of the book: monasteries, courts, schools and
universities. The class will focus as much as possible on a
hands-on approach to the materials. Visits to the Rare Books
collections at Brown, and to the RISD Museum, as well as a
field trip to the Beinecke at Yale will be part of the class.
Besides a few short papers, the students will complete a term
project based on a thorough study of one of the genres of the
book, such as books of hours, sacramentaries, canon law
collections, libraries, or a specific manuscript.
Fee: $50.00
W,F
1:00pm - 4:00pm
CB 302
CB 434
ARTH H676
ISLAMIC ART AND
ARCHITECTURE
3 credits
Mariah Proctor-Tiffany
This course will examine the arts of Islam beginning with the
rise of the faith in the seventh century. We will study religious
and secular architecture, the arts of Islamic calligraphy and
manuscript painting, ceramics, works in metal, and textiles in
relation to their creation, function, and meaning. We will study
the variety of monuments and works made in the Middle East,
North Africa, Spain, India, China, and the Americas, and
where possible, we will explore the relationships of patrons
and artists. We will visit a local mosque and collections of art
at the RISD Museum.
M,W
9:00am - 12:00pm
DC 212
ARTH H591
JAPANESE PRINTS
3 credits
Elena Varshavskaya
This course focuses on Japanese woodblock prints, the 17th19th century vibrant urban art form that emerged as a portrayal
of townspeople’s festive pastimes, and became known as
ukiyo-e – “pictures of the floating world.” We will examine
evolution of two major ukiyo-e genres, portraits of beautiful
women and the Kabuki Theater actors. Discussions will
embrace prints by Harunobu and Utamaro, great masters of
femininity, and by the leading actor-artists of the Torii and
Katsukawa lineage as well as by a bold innovator Sharaku with
his emotionally charged close-ups. We will explore the
landscape genre in prints by Hokusai and Hiroshige and images
of warriors in the art of Kuniyoshi. Considered will be book
illustration and single-sheet prints, commercial and deluxe
private publications, materials and methods of print production,
censorship regulations, as well as customs and traditions of the
old Japan as they appear on prints. Students will take two
terminology tests and write a research paper.
M,T
1:00pm - 4:00pm
CB 431
HPSS S510
HARVESTING THE SEA: A
HISTORY OF CULTURE AND
COMMUNITY, TECHNOLOGY AND
THE ENVIRONMENT
3 credits
John Jensen
Humans have hunted and gathered the sea’s living resources
for millennia. In coastal areas worldwide, stories and the
influence of fish are recorded in material and popular culture,
community memory, diet, specialized technologies and
distinctive marine architecture. Fish and fishing are also visible
along many waterfronts, in our grocery stores, and restaurants.
Regionally and globally, industrial fishing threatens the
environment with iconic fish stocks such as the Atlantic Cod
and the Bluefin tuna facing commercial extinction and with
them the traditional fishing communities that they once
supported. Through historical scholarship, nautical architecture
and archaeology, creative literature, visual art, film, journalism,
food, and material culture, this course will explore the
significance of fish and fishing in the past and in the present.
The course will also address the issue of the sustainability of
commercial fishing as an industry and as distinct way of life.
Fee: To be determined
F
9:00am - 12:00pm
CB 442
1:00pm - 4:00pm
ENGL E333
LITERATURES OF THE INDIAN
SUBCONTINENT
3 credits
Jonathan Highfield
There is a long history of literature on the Indian subcontinent,
and while Bangladesh, India, Pakistan, and Sri Lanka have
different histories since partition, their literary history and
continued development are intertwined. This course will look
at the literature of the region, including works by writers in
exile. Writers examined may include Anand, Desai, Hamid,
Narayan, Nasrin, and Rushdie.
M,T
1:00pm - 4:00pm
CB 301
ARTH H686
ILLUMINATED MANUSCRIPTS:
IMAGE, TEXT AND READER
3 credits
Margot Nishimura
Illumination, illustration, interpretation -- these are all terms
that can apply to the images in medieval and Renaissance
manuscripts. While this course seeks to introduce students
generally to the history of manuscript painting from the 6th to
the 16th centuries, special emphasis will be placed on how
these images relate(d) to the texts they adorn. The course will
be evaluated on the basis of in-class discussions, two
presentations, one exam, and a final research paper that will
ARTH H559
LIVING IN COLOR: SYNAESTHESIA
AND THE BLAUE REITER
3 credits
Michelle Duncan
This course examines the joint innovation of Russian artist
Wassily Kandinsky and Viennese composer Arnold
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Wintersession 2010
plays for the theory of knowledge. Not only can it be said with
Kant that we think because we imagine, it may also be claimed
that we only are, only exist because we imagine (following J.P.
Sartre, E.J. Furlong, Norman Doidge and Maurice MerleauPonty). We will start out with Plato and the myth of
Prometheus, in which the titan steals the fire from the Gods,
and, by handing it to humanity, sparks all forms of creative
expression. Just as many philosophers since Plato have called
upon reason to keep the indomitable imagination in check, all
the while giving it a prominent place in their theories of
knowledge, artists have embraced the imagination’s
provocative nature and benefitted from its creative force. We
will home in on this crucial intersection of Art and Philosophy
as it manifests itself in their mutual dependence on the
imagination, without which there would be neither creativity
nor reflection. This will not be a course about philosophy but
a course in philosophy – an experience in practicing
philosophical thinking.
Also offered as ARCH 2124. Register into the course for which
credit is desired.
M
5:00pm - 8:00pm
BEB 219
T
1:00pm - 4:00pm
Schoenberg between 1908 and the outbreak of World War I, as
well as their work with the expressionist group from the
Munich New Artist’s Association known as the Blaue Reiter
(Blue Rider) between 1911-1914. We will appraise these
figures’ cross-disciplinary experiments on art, music, and
theater, and investigate their thoughts on the relationship
between the artist and the unconscious. Students will compare
Kandinsky’s treatise On the Spiritual in Art and Schoenberg’s
Theory of Harmony; Kandinsky’s stage composition The
Yellow Sound and Schoenberg’s The Lucky Hand; Kandinsky’s
pedagogical work On Stage Composition and Schoenberg’s
Problems in Teaching Art. In addition, we will read Freud’s
essay “Creative Writers and Day Dreaming,” Otto Rank’s The
Artist, and take a close look at the Blaue Reiter Almanach.
M,T
7:00pm - 10:00pm
CB 442
ARTH H734
METHODOLOGIES OF ART AND
VISUAL CULTURE
3 credits
Christina Connett
This course will look into various methods used by art
historians to study objects and images, including gender and
cultural contexts, as well as traditional formalism and
iconography. We will also look at what we consider art to be,
and what roles artists can play in its production. How do
museums, academics, politicians, and markets function in
determining the status of a work of art? How have our own
identities been shaped by the choices these institutions have
made? How have images been used historically, and how can
they reflect the general sentiments of their respective ages?
What do they tell us about ourselves, and how powerful is the
image in our own time? Through a multidisciplinary approach
to material, we will discuss these issues and others to
understand how and why we consider visual culture as we do,
what that tells us about ourselves as spectators, consumers, and
producers of art.
Fee: $80.00
TH
7:00pm - 10:00pm
CB 521
F
1:00pm - 4:00pm
ARTH H453
PERFORMANCE ART AND PRIVATE
LIFE IN RENAISSANCE ITALY
3 credits
Pascale Rihouet
This course explores how art articulated the many rituals that
permeated the Italian society from ca. 1350 to 1550. Ephemeral
art and fragile objects that were only sporadically displayed
(processional ones, for example) are rarely discussed in art
history. Well-orchestrated events for birth, marriage and death
were held in domestic or outdoor settings; citywide processions
meant to ward off the plague or to honor a local saint, and
political events such as princely entries or funerals flaunted
colorful paraphernalia such as precious textiles, costumes,
flags, statues, and decorated tapers. These gatherings often
staged the performance of music, chanting and prayers, or
religious drama. The art of public ritual not only created
authority and expressed devotion but it also asserted one’s rank
in society, and maintained social order. To understand these
phenomena, we will examine inter-disciplinary methodologies
in art history from material culture, anthropology, social
history, and iconography. One field trip to Boston is planned.
Fee: $27.00
M,T
1:00pm - 4:00pm
CB 521
HPSS S124
ON IMAGINATION: A
PHILOSOPHICAL STUDIO
3 credits
Kathrin Stengel
“Thoughts without content are empty, intuitions without
concepts are blind (B 75).” In this famous statement from the
Critique of Pure Reason, Immanuel Kant encapsulates the
fundamental challenge to all theories of knowledge, namely,
the problem of the relationship between sense experience and
thought. Given Kant’s fundamental separation of
understanding and sensation, one has to wonder how thoughts
can access our sense experience at all, and how the latter can
be adequately conveyed through concepts. As we shall
discover, it is the mysterious power of the imagination that
makes our understanding come alive and transforms our sense
experience into knowledge.
In this philosophical studio, we will explore the crucial,
yet mysterious, phenomenon of 'imagination' and the role it
LAEL LE14
OPTICS: MAKING HOLOGRAMS
3 credits
Donald Thornton
This Wintersession seminar has a focus on making holograms
with lasers and on understanding the physics that makes
holograms and lasers work. Ideas from familiar phenomena
help us see the connections between everyday life and the
abstract ideas of physics. This non-mathematical presentation
of optics leads us to an appreciation of the logic and beauty
behind the behavior of light. Starting with the fundamental
properties of light, we pass through the geometric optics of
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Wintersession 2010
HPSS S660
SCHOPENHAUER AND NIETZSCHE
3 credits
Stephen Ott
Friedrich Nietzsche famously announced “God is Dead” and
asked how we should live in the void left by His absence. His
answer? The theory of eternal return: we should live lives we
would want to live over and over again. Nietzsche was reacting
against the pessimism of Arthur Schopenhauer, who believed
unhappiness was inevitable. Life is a welter of desires that
make us unhappy if not satisfied but that, if satisfied, only
bring other desires demanding satisfaction. One of the first
Europeans to study Hindu and Buddhist writings, he advocated
extinguishing desire. Through reading, discussion, and class
and individual projects we will examine how the creative
tension between these two thinkers as well as their interactions
with Eastern thought stimulate other thinkers and artists.
M,W
9:00am - 12:00pm
CB 302
reflection and refraction, and the wave optics of interference
and diffraction to the clarity of particle waves, lasers,
holography, and special relativity.
Fee: $35.00
W,Th
1:00pm - 4:00pm
CB 442
W
7:00pm - 10:00pm
(Lab)
LAEL LE33
PALEOGRAPHY: WESTERN
HANDWRITTEN LETTERFORMS
3 credits
Alexander Gourlay
An analytical and historical course on the written letter, the
tools that produce it, and the forces that shape it, with emphasis
on the Roman alphabet and its development until the advent of
moveable type. Students will not only study historical
examples of handwritten letters, but learn to write them using
tools analogous to those that originally produced them. The
course will begin with systematic instruction in the basics of a
modern version of a Renaissance italic hand, then follow the
historical development of the Roman alphabet from brushwritten and reed-written monumental capitals, through square,
rustic and uncial forms, their early medieval derivatives, the
Carolingian family of letterforms, and the mature
majuscule/minuscule alphabets that eventually became the
basis of most type used for text. We will at least briefly
consider Hebrew and Greek alphabets and some posttypographic alphabets, including copperplate hands. Students
will produce alphabet paradigms and sample texts in all hands
and write two historical papers. While this course will be of
special relevance to graphic design majors, it is open to anyone
interested in written letters and calligraphy.
W,Th,F
1:00m - 4:00pm
DC 211
HPSS S504
SCRIPTURES & TRADITIONS IN
JUDAISM AND CHRISTIANITY
3 credits
Michael Burch
An introduction to the Jewish and Christian religious traditions,
beginning with Ancient Israelite culture and society and tracing
important developments throughout history into the modern
period. The focus of the course will be upon formative texts
and traditions. Continuities and discontinuities between
Judaism and Christianity, and within Judaism and Christianity,
will be addressed. Students will come away with a greater
familiarity of sacred texts as well as interpretive approaches
each religion has employed. Secondarily, cultural and political
developments in the west will also be explored within the
context of Jewish and Christian relations. Both religious
traditions will be examined through comparing such shared
themes as God, divine spokespersons, sacred texts and stories,
rituals, and beliefs. Students will gain an introductory but
comprehensive understanding of Jewish-Christians religious
beliefs, practices, and histories. A series of several short 2-4
page essays will be submitted by students for evaluation.
There will also be one examination at the end of the winter
session. Students will make one field trip to a Church or
Temple/Synagogue for the purpose of hearing and engaging
Christian and Jewish religious leaders on the topic of JewishChristian relations. No previous experience or knowledge of
either tradition is required.
Fee: $65.00
W,Th
7:00pm - 10:00pm
CB 434
ENGL E380
“PRINT THE LEGEND”: THE
WESTERN AS FILM AESTHETIC,
NATIONAL HISTORY, AND
INTERNATIONAL MYTH
3 credits
Gloria-Jean Masciarotte
Taking its cue from Clint Eastwood who proclaimed, "As far
as I'm concerned, Americans don't have any original art except
Western movies and jazz," this course will analyze the Western
film as an art form in and of itself. We will discuss Westerns
in terms of their specific aesthetic and technological influence
on the medium, their cultural expression of a national political
unconscious, and their global function as the meta-narrative of
space. This course will tackle these discussions through a
chronological unfolding of the genre starting with the Edison
Company's 1898 Westerns and Edwin S. Porter's "1903 The
Great Train Robbery", through the Golden Age of John Ford
and Howard Hawks' films and the reciprocal translation of
Akira Kurosawa's epics, and finally, to the variants of the
Spaghetti, Revisionist, and genre-bending contemporary and
postmodern Westerns of Dennis Hopper, Sam Peckinpah, John
Sayles, Jim Jarmusch, Ang Lee, and Wim Wenders. There will
be required readings in critical film theory, weekly screenings,
analytical essays, and oral presentations.
M,W
9:00am - 12:00pm
CB 431
ARTH H729
THE ARCHAEOLOGY OF
JERUSALEM
3 credits
Katharina Galor
Jerusalem has earned a special eminence among the famed
ancient cities of the world. Its sanctity to Jews, Christians, and
Moslems has made the city a focus of discussions and
controversies regarding the evolving and changing identities
throughout its long urban history. Early and recent studies and
discoveries, as well as old and new theories with a special
emphasis on the Roman, Byzantine, and Early Islamic periods
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Wintersession 2010
HPSS S450
THE MATRIX OF WISDOM:
PHILOSOPHY & SCI-FI
3 credits
Don Keefer
Philosophy, the quest for wisdom, seeks answers to life’s
deepest and most enduring questions. How should we live?
What is the truth? What is real? What and who are we in a
universe of things unlike ourselves? At its core, philosophy is
a discursive, argumentative probing that pokes at our
fundamental assumptions about the world. The philosophical
mind, of course, welcomes the challenge. In addition to
philosophers raising these questions, fiction has been a vehicle
for raising these issues and challenging the status quo mindset
of its readers. Science fiction in particular, has long been
occupied with questions regarding man’s place in the universe
and the limits and potentials of science. While such
philosophical probity rarely makes for great television viewing,
there are a few shows, such as Star Trek, The X-Files and
others, that are distinguished by their consistent philosophical
texts in conjunction with the study and discussion of selected
episodes from these extraordinary television series.
Participation, several short papers and group presentations are
required.
Th,F
9:00am - 12:00pm
CB 412
(ca. 63 BCE – 1099 CE) will be examined in the seminar. A
particular focus will be placed on how to identify ethnicity,
religious identity, and gender in the archaeological record.
Though politics and religion have often biased related
scholarship and the way excavations and their interpretations
have been presented to the public, the goal of the seminar is to
understand and examine various opinions and viewpoints. This
seminar will consist of regular meetings, with illustrated
lectures, student presentations, discussions and Museums visits
(RISD Museum, Metropolitan Museum of Art, Jewish Museum
of New York). In addition to the presentations, weekly reading
assignments, a mid-term exam, and a final term paper will be
required.
Fee: $75.00
W,F
1:00pm - 4:00pm
CB 301
ARTH H660
THE IMAGE OF AMERICA IN
EUROPEAN FILM
3 credits
Marcin Gizycki
During this seminar we will discuss how America is seen by
contemporary European artists and intellectuals. Jean
Baudrillard's famous book "America" as well as films by
Antonioni ("Zabriskie Point"), Makaveyev ("WR: Mysteries of
the Organism") and Herzog ("Stroszek") will number among
the works analyzed in the class.
M,T
1:00pm - 4:00pm
CB 412
HPSS S667
THE MUTABLE PAST
3 credits
David Warner
This history course juxtaposes the past, as it actually was, with
the past as remembered or reconstructed by subsequent
generations. It is based on the supposition that the manner in
which a given community imagines its past will also say much
about how it imagines is present. To ascertain the impact of
this imagination, the class will draw on the testimony of
sources associated with popular or mass culture, especially
films. No previous knowledge of history is assumed. Through
lectures and discussions specific historic events will be
identified and discussed within a more or less factual context.
Then, the class will examine the afterlives of these events
through novels, plays, and theatrical films.
W,Th
1:00pm - 4:00pm
CB 434
HPSS S451
THE LEADERSHIP OF SOCIAL
CHANGE
3 credits
Peter Hocking
Reflecting upon historical and contemporary models of
leadership, this course is designed to engage students in an
active dialogue with the ways that collective social concerns
are addressed by different approaches to leadership. In
addition, the course will examine how individuals focus
personal affinities and ways of knowing into effective
strategies for solving problems, advancing ideas, and making
social change. Finally, the course will consider issues of ethics
and trust in both the private and public spheres. While
primarily focused on public issues, this course will consider
and study effective and ineffective leadership in all three
economic spheres. Students will be required to engage with
intensive readings and classroom discussion, complete regular
writing assignments, and develop a community-based case
study for the course. The course will look intensively and
critically at the work and history of the Highlander Center for
Education and Social Research; the leadership model
developed by the Greenleaf Center for Servant-Leadership;
contemporary political and business movements; and case
studies from the current economic crisis. Students will be
asked to read and reflect upon leadership issues reported in the
New York Times for the duration of the class.
M,T
1:00pm - 4:00pm
MASN/CIT 201
ARTH H662
THE MYTH OF THE CITY IN 19th
AND 20th CENTURY WESTERN ART
3 credits
Agnieszka Taborska
This course will examine the role played by urban mythology
in 19th and 20th-century European and American art. We will
study the late-19th-century idea of the flaneur, which
influenced both visual arts and literature. We will discuss the
Futurists' fascination with machines and the Surrealists'
concept of a city perceived as a human body. We will analyze
the Impressionists' views of Parisian streets, Frans Masereel's
woodcuts The City, Giorgio de Chirico’s metaphysical
paintings, and Edward Hopper's nostalgic images of the
American metropolis. We will study how the interest in urban
reality has influenced the development of new art movements
of the last two centuries.
M,T
1:00pm - 4:00pm
CB 346
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Wintersession 2010
both imaginative and technical approaches to finding our own
writing voice, we will work toward completion of a focused
draft of the thesis.
M,T
1:00pm - 4:00pm
CB 442
HPSS WS19
THE POWER OF WHITENESS
3 credits
Larry Carney
This course considers the intertwining and interpenetrations of
ethnoraciality, sexuality, and gender differentiation in the
generation and ordering of power, domination, and inequality
in American society. The American experience is viewed in the
wider historical context of colonialism, slavery, and
imperialism along with their aftermaths and effects, as a way
of understanding the cultural environments and processes of
identity-formation by which we come to know ourselves as
ethnoracial and gendered-sexual beings and actors in
contemporary society.
Fee: $15.00
M,W
9:00am - 12:00pm
CB 301
ARTH H330
WOMEN IN INDIAN ART
3 credits
Mallica Kumbera Landrus
The course will explore the representation of the female form
in Indian art. We will focus on specific topics and periods.
While inter-disciplinary in its use of certain ancient texts and
modern writings, the emphasis will be on representations of
women in India's visual culture. The visual material will be
placed within its specific socio-economic, historical, religious
and artistic milieu. Students will be assigned tasks of
presenting prepared talks through out the session. The class
will visit museums on field trips.
Fee: $160.00
W,Th
1:00pm - 4:00pm
CB 521
LAEL LE50
THEATER PRODUCTION
WORKSHOP
3 credits
Fred Sullivan
Professional actor/director Fred Sullivan(Trinity Repertory
Company resident artist and RISD Acting Workshop
instructor) will guide a company of student actors, designers,
stage managers, and construction crew through a workshop
process of producing a live play for the stage, culminating in
a weekend of public performances of the production. Students
in this course will be asked to: audition for, rehearse and
perform assigned speaking and/or non-speaking roles; express
preferences for leading and/or assisting in design areas (sets,
costume, sound, lighting, etc.); accept assigned duties on
design, construction and stage management crews; commit to
a flexible rehearsal/construction schedule outside of class
meetings; and pursue a guided study of the dramaturgical and
production elements of the play or plays being produced.
Under consideration for this Winter session’s production is a
selection of short plays by modern masters/ “geniuses” such as
Tennessee Williams, Samuel Beckett, Thornton Wilder, David
Mamet et al. The structure of the selected play will be analyzed
for its themes and historic context as well. The play will
furthermore be examined for its unique performance
techniques and production requirements. Sign up, put on some
comfortable clothes and come to the first class ready to play.
Rehearsals are scheduled throughout wintersession as
needed.
M,W
9:30am - 12:30pm RISD Auditorium 132
LAEL LE59
THESIS WRITING: APPROACHES TO
CRITICAL PROCESS
3 credits
Jennifer Joy
This is a writing-intensive seminar for seniors working on their
written thesis. Beginning with the premise that writing is a way
to think creatively and critically about our work and studio
process, we will experiment with multiple strategies to open up
new ways of communicating about our work and to situate it in
relation to other artwork and critical debates. Structured as a
series of workshops, the class will include individual and
collaborative writing exercises and critiques, readings and
discussions of artists? writings and theoretical texts. Engaging
28
Wintersession 2010
Off-Campus Study
29
techniques, basic woodworking, sewing, and print facilities.
The intention is to make marketable products that utilize
available materials in innovative ways, and that reflect cultural
sensibilities of the community. RISD students will develop a
series of collaborative exercises that test a range of approaches
to the design process based on shared cultural interaction. At
the conclusion, everyone will oversee the production of at least
one new product or design.
Students will work collaboratively with Ghanaian artists,
craftsmen and students, building on insights gained from
artisan demonstrations, workshops and field trips as well
through presentations on Ghanaian History and Culture.
Augmenting the studio work, students will visit the local
natural resources with a rainforest walk, experience the cultural
wealth of local dance and music performances, and the
contextual references of historical sites with visits to a former
slave station.
The course is built around studio work, lectures,
workshops, field trips and a community service project , all
grounded in issues of environmental sustainability and
recycling. Students will enjoy the Institute’s residential facility,
which provides a dynamic forum for study and quiet
introspection; insuring a unique, personal experience that
refines one’s understanding of what it means to be a world
citizen. The teaching faculty includes accomplished Ghanaian
lecturers, professional artists, traditional drummers and dancers
as well as resource persons from the local village.
Open to junior, senior and graduate students
Space available for ten Furniture majors and eight non-majors
Estimated travel cost: Available at information session offered
by instructor.
OFF-CAMPUS STUDY
PHOTO W561
*FRANCE: PHOTOGRAPHY IN
PARIS
6 credits
Anna Strickland
Over a period of five weeks, students will come to know well
the magnificent city of Paris with its abundant museums,
significant architecture, atmospheric parks and intimate cafes.
Paris and its environs will be the catalyst for inspiring students
of all levels of photography to begin or to continue to develop
technical skills and to explore personal visions.
In discussions on the work of past and contemporary
photographers, in group critiques which investigate “learning
how to see” and how to create “good” photographs, and in
individual meetings, students are encouraged to respond in
unique ways to photographic problems.
Using black and white film and the 35mm camera as the
primary tools for employing the visual language of art, students
will process film and print in the well-appointed and
maintained facility of the Photography Studies in France. The
PSF building is located in the 11th arrondisement of Paris near
the Bastille. In addition, field trips outside the city will
introduce students to the countryside, as well as afford further
photographic opportunities. Independent study in photography
in Paris is sure to impact on the creative life of a student at any
level of photography in immeasurable ways!
Estimated travel cost: Available at information session
offered by instructor. $3,900.00
FURN 2452
*GHANA: DESIGN COLLABORATION
IN GHANA
6 credits
Rosanne Somerson/Lu-Anna Follen
Students will work with Ghanaians in the Kokrobitey Institute
in Ghana to develop a series of objects that utilize local
materials, recyclables, and natural substances, and that provide
sustainable economic potential for local communities. Students
will engage in studio prototype making, augmenting their
understanding of the dynamic local culture through a series of
field trips and lectures to artist studios, local cultural sites,
performances, and natural environments.
Kokrobitey Institute’s Mission is: “to offer study
programs and implement local and sustainable
development projects, focused in Environmental Studies,
Art and Design that view these disciplines through the
lenses of the cultural, social, historical and natural
resources of Ghana”.
Students will meet at RISD for the first week to engage in
a preparatory process for approaching the challenge that
“design for development” processes entail, as well as to gain
orientation to cultural factors, travel considerations, living
arrangements, and course expectations. Once in Ghana, we will
work with the Institute Director and a team of Ghanaian
artisans to develop products that can be made using hand
GRAD 091G
*INDIA: DESIGN FOR
DEVELOPMENT
3 credits
Elizabeth Dean Hermann/Claudia Ford
T h i s s e mi n a r / t r a v e l c o u r s e f o c u s e s o n t h e
artist/designer/environmentalist/engineer as an entrepreneur
and activist within the Developing World. Specifically, it offers
an opportunity for guided interdisciplinary collaboration in
exploring the many ways in which those privileged with a
RISD education can play a significant role in making the world
around them a better and more just place for all.
2010 is the fourth year this seminar will be offered
through Graduate Studies. At the same time, 2010 will be the
first year Design for Development (D4D) will be offered in the
field where students spend two weeks of their term working
directly with one of several NGOs whose work focuses on
issues of poverty alleviation, improved living environments,
entrepreneurship and micro-finance, craft cooperatives,
education, water and waste management, urban farming, etc.
During the first few days in country - and in the evenings
over group dinner and discussions of the day’s experiences and
assigned readings - students will begin to identify the issues
they will address as teams in project proposals created in direct
29
30 Off-Campus Study
Wintersession 2010
taken as a 3 credit architecture elective (non majors with
instructor’s permission) or as a 6 credit architecture studio. For
more information contact Anthony Acciavatti
[email protected] or [email protected].
Open to 2nd year MARCH, junior or above BARCH
by instructor.
response to situations and concerns they have been exposed to
through their internships (see 2009 syllabus for further details
on team projects).
Following the two-week internships there will be a week
of travel to various sites and organizations in West Bengal and
the neighboring state of Orissa. The last week and a half will
be spent in Providence pulling together the team proposals and
business plan for carrying the projects forward in the future.
Open to graduate and undergraduate students
Permission of instructors required
by instructor.
CER 4109
*JAPAN: CLAY IN JAPAN
3 credits
Larry Bush
Japan offers a unique laboratory to study both by observation
and hands-on experience the influence of culture, geography,
and geology on the growth and development of material art.
The focus will be ceramics.
The six-week experience is essentially divided into two
distinctly different but related parts, each of which provides a
structured learning environment with very particular outcomes:
The first part of the course will essentially concentrate on
the development of a personal sketchbook / journal through a
temple stay and visits to contemporary and historical sites of
production and studios in central Japan. Important architectural
sites, both old and new, from Okayama to Kyoto and Nara will
be visited. An interim review of the sketchbooks will
concentrate on the interpretation of the accumulated drawings
from each student into a spatial object or objects to be fired in
the kilns of the Kuramaki Studio in central Nara Prefecture.
Although this process will be the focus of the latter part of the
Wintersession there will be ample opportunity for further visits
in the historically significant region surrounding the studio.
The course will culminate with a documented exhibition
of the “Clay in Japan”, in Japan.
by instructor.
ARCH W202 04 *INDIA: COSMIC COMICS:
IMAGINING THE GANGA-JAMUNA
DOAB OF NORTH INDIA
6 credits
Anthony Acciavatti
There has come to be an expansive space over 800 kilometers
long with a width ranging between 90 km and 0.7cm that is
revered by millions of people as holy, otherworldly, with
super-natural powers in northern India. It has been extensively
written about, studied in fragments, and captivated the
imaginations of tyrants, empires, the handicapped, priests,
artists, designers, and engineers alike. Today millions of
homes line the edges of this space as do wildlife, farms,
highways, factories, cities, and temples not too mention all of
the living and non-living materials that reside within it. This
space, the Ganga-Jamuna doab of India, has been a testing
ground for imagining and synthesizing new conceptualizations
of nature and space.
This travel course will explore the possibilities of
representing and navigating the environment between the
Ganga (Ganges) and Jamuna Rivers (known as the doab) of
northern India through modes of comic representation.
Comics, unlike other forms of media, require a viewer to make
associations and connections across images and narratives,
encouraging visual and intellectual participation in the subject.
The tradition of comic books in India is one of incorporating
mythology, history, and contemporary environmental issues
from urbanization to pollution. Similarly, artists, architects,
designers, activists, and global foundations use the medium of
comic books to explore and disseminate specific ideas and
morals. Students will develop a series of comic books that
explore the unique scales and instruments of this environment
to picture a new understanding of this territory and its
representation. Text, photography, advertising, cartography, as
well as collage and montage will serve to foreground the
unique spatial and cultural customs of this landscape in order
to engage a larger public beyond our respective disciplines.
We will traverse this space along the major infrastructural
routes—namely highways, canals, rivers, and rail
lines—culminating at the confluence of the Ganga and Jamuna
Rivers, the most sacred space in all of Hinduism where
millions come to bathe during the month of January.
The course is open to all departments at RISD and may be
ARCH W202 01 *MEXICO: DESIGN/BUILD
COMMUNITY CENTER IN MEXICO
(MONTECILLO de NIETO)
6 credits
Silvia Acosta
Montecillo de Nieto is a village outside San Miguel de
Allende, Mexico. The people there live in extreme poverty, yet
they have worked well together in order to accomplish modest
improvements to their collective lives. A member of the village
donated a plot of land. An outside donor will provide some
funding to enable the making of a community space. A few
architecture students will build the work.
The village of Montecillo needs a multipurpose structure
that can accommodate a place for medics to distribute
medication or tend to community health issues, a place where
classes (sewing, cooking, crafts, exercise) can be offered, a
place for books such a small outreach library, a place where
members of the community can gather to discuss things, and a
30
Wintersession 2010
Off-Campus Study
31
Students must also register for HPSS WS24.
by instructor. Cost covers all transportation to and in Mexico,
housing and meals in Cuernavaca, housing only in Oaxaca.
place where a garden could be made. The integration of solar
energy and water catching will be explored.
Compressed adobe block will be the primary material
used. The proposal will be low cost and adaptable so that the
resulting design can be modified and repeated in other
locations if required. The project will be constructed during the
six weeks of Wintersession.
The course fulfills the 6-credit transfer studio requirement
for architecture majors. Permission of instructor, Silvia Acosta
(Architecture), will be required for registration into the course.
Open to ARCH/INTAR/LDAR majors only; 2nd year M.ARCH,
Junior or above B.ARCH
by instructor.
MTWTHF
9:00pm - 6:00pm
BEB 3fl
ARTH H655
*MEXICO: THE ETHNOGRAPHIC
MUSEUM
3 credits
Winnie Lambrecht
This course is object-centered and will explore the theories and
methodologies that have been adopted for the display of
ethnographic materials in museums over time. Students will
have the opportunity to visit a number of local and regional
museums, exhibitions and private collections. We will talk to
collectors and to curators, and engage in exercises that focus on
the display of objects for general audiences. This will give
students a general background on such questions as: how can
3D objects best be displayed? What information should objects
be displayed with? What are the goals of an ethnographic
exhibition? How are exhibitions organized? Is modern
technology making museums obsolete? What are the
repatriation regulations, and how have they impacted collectors
and museums? The course will require a number of weekend
visits to collections, as well as a final project that will be
object-centered.
by instructor.
HPSS WS24
*MEXICO: WINTERSESSION IN
MEXICO
3 credits
Edward Dwyer
An anthropological and archaeological introduction to the
cultures of Mexico, both modern and ancient. The course will
start in Cuernavaca with mandatory Spanish classes and
programmed travel to the National Anthropological Museum
in Mexico City, the ancient site of Teotihuacan, and other
archaeological sites around the valley of Mexico. Subsequent
study in Oaxaca will provide an introduction to additional
distinct ancient civilizations and varied environments. We will
visit contemporary indigenous crafts communities around
Oaxaca and archaeological sites and ecological zones. An
exhibition of work produced during our travels will take place
in the Spring semester.
Students must also register for PRINT W479.
by instructor. Cost covers all transportation to and in Mexico,
housing and meals in Cuernavaca, housing only in Oaxaca.
ARCH W202 02 *SWITZERLAND: PROTOTYPE OF A
WOODEN HOTEL
6 credits
tba
The city of Lausanne, situated by the lake of Geneva, will
organize an international exposition of horticulture with
congresses and events and a huge number of participants and
visitors. Because there is a lack of hotel rooms, several hotel
rooms will be built for this event. The mandate for the architect
(student) is to project an innovative hotel on a site in Lausanne.
It has to be built largely of wood, due to its thematic alliance
with the exposition. It may also be that a conjunction of a
horticultural part with the hotel might be interesting. The
architect takes the opportunity to consider the project as a
prototype for a prefabricated hotel building system. This would
permit the realization thereafter of a series of hotels in Middle
Europe, in different configurations and contexts.
To develop competence in the domain of this “mandate”,
some studies and analysis will be executed concerning:
- history of mobile architecture
- exemplary hotel concepts
- basics for construction of prefabricated wood building
- exemplary structural solutions for objects that are composed
serially. These objects may be artifacts (sculpture, graphics,
technics) or natural products (tissues, honeycombs, etc.)
PRINT W479
*MEXICO: THE ENVIRONMENT (The
Flora and Fauna of Cuernavaca)
3 credits
Randa Newland
In this travel course we will work and live in Cuernavaca, and
Oaxaca Mexico. The content and imagery for this class will
focus on the amazing landscape and plant forms of this ancient
land. From the stark, dry desert to tropical forests, students
will be inspired by a landscape so very different than that of
New England. A large personal travel journal will be required
as well as individual art works ranging in media. Drawing.
Painting, printmaking, photography, collage and installation
will be encouraged. Group critiques on the work will be held
weekly. Weekly tours of the regions will inspire work and
personal growth. Several tours will be taken to Mexico City,
including the National Archeological Museum and Casa Azul,
the former home and studio of Frida Kahlo.
31
32 Off-Campus Study
Wintersession 2010
offered by instructor.
ALTERNATES TO OFFCAMPUS COURSES
Should an off-campus travel course not be offered, an
alternate course will be substituted. These alternates will be
announced on October 27 and will appear on WebAdvisor.
You may also check with the Registrar’s Office. Usually, all
off-campus travel courses have sufficient enrollment to be
offered.
32
Wintersession 2010
INDEX BY SUBJECT/DEPARTMENT 33
A title beginning with a “*” indicates an off-campus study course. Alternates to off-campus courses are not in the index.
SUBJ
CRS
SEC
TITLE
AD
1511
01
Design & Entrepreneur Thinking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
APPAR
APPAR
APPAR
W302
W307
8960
01
01
01
Basic Apparel Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Introduction to Designing for Apparel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Professional Internship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
ARCH
ARCH
ARCH
ARCH
ARCH
ARCH
ARCH
ARCH
ARCH
ARCH
ARCH
ARCH
ARCH
ARCH
W204
2148
2197
2115
W202
2106
W228
W202
2124
2199
W202
W222
W202
W202
01
01
99
01
04
01
01
01
01
01
02
01
XX
03
Architectonics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Architecture and Design in the Age of Transnational Terrorism . . . . . . . . . . . . . . . . . . . . . . . 2
Degree Project Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Energy: Realities and Alternatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
*India: Transects of the Ganga-Kamuna Doab in India - Diffuse Modernity . . . . . . . . . . . . . 30
Material Potential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Math and Physics Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
*Mexico: Design/Build Community Center in Mexico (Montecillo de Nieto) . . . . . . . . . . . . 30
On Imagination: A Philosophical Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
*Switzerland: Prototype of a Wooden Hotel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
The Architectural Sketch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Transfer Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Urban Eden: Imaging the Future City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
ARTE
ARTE
ARTE
ARTE
W402
044G
W62G
8960
01
02-03
01
01
Artist-Teacher in School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Collegiate Teaching Reflection and Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Design Education Studio Workshop: Place-based Learning . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
ARTH
H563
H573
H713
H476
H450
H620
H676
H591
H686
H559
H734
H655
H453
H729
H662
H660
H330
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
Architecture and Psychoanalysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Art & Totalitarianism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Art in the Age of Alexander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Contemporary African Art: The Nigerian Experience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Design in Conflict: Art and War in Early Modern Europe . . . . . . . . . . . . . . . . . . . . . . . . . . .
Femmes Fatales & Domestic Nuns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Islamic Art and Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Japanese Prints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Illuminated Manuscripts: Image and Text Relationships . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Living in Color: Synaesthesia and the Blaue Reiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Methodologies of Art and Visual Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
*Mexico: The Ethnographic Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Performance Art and Private Life in Renaissance Italy . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Archaeology of Jerusalem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Myth of the City in 19th & 20th Century Western Art . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Image of America in European Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Women in Indian Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CER
CER
CER
CER
CER
CER
W406
W403
4110
4109
8960
W40G
01
01,02
01
01
01
01
Ceramic Form and Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Ceramics on the Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Digital Ceramics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
*Japan: Clay in Japan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Written Thesis: 2nd Yr. Grads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
33
21
21
21
22
22
23
24
24
24
24
25
31
25
26
27
27
28
34
INDEX BY SUBJECT/DEPARTMENT
Wintersession 2010
SUBJ
CRS
SEC
TITLE
D+M
D+M
D+M
D+M
D+M
2010
2011
2015
2012
2013
01
01
01
01
01
Collaborative Digital Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Intelligent Sensing and Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Seamless: Fashion + Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Space in New Media Installations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
The Ghost in the Machine: Analog to Digital Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
ENGL
ENGL
ENGL
ENGL
ENGL
ENGL
ENGL
ENGL
E422
E342
E242
E640
E269
E370
E333
E380
01
01
01
01
01
01
01
01
Advanced Fiction Writing Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Beautiful Lies: Australian History in Literature and Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Bob Dylan: “But it Ain’t Me Babe” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Brecht & Fo: Radical Theater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Extreme Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Fiction Into Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Literatures of the Indian Subcontinent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
“Print the Legend”:The Western as Film Aesthetic, National History, and International Myth 26
FA
4765
01
The Artist’s Machine: Electricity and Electronics for Artists . . . . . . . . . . . . . . . . . . . . . . . . 17
FAV
FAV
FAV
FAV
FAV
FAV
FAV
FAV
W517
W507
W502
W506
W503
W521
8960
W519
01
01
01
01
01
01
01
01
Advanced Animation Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Advanced Film Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Animation I-A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Creature - Creation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Film Explorations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Introduction to Computer Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Video Explorations: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
FURN
FURN
FURN
FURN
2452
W502
8960
2512
01
02
01
01
*Ghana: Design Collaboration in Ghana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Introduction to Woodworking Techniques for Furniture Design . . . . . . . . . . . . . . . . . . . . . . . 9
Metals for Furniture Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
GLASS
GLASS
GLASS
4304
4323
8960
01
01
01
Beginning Hot Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Glass Sculpture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
GRAD
GRAD
GRAD
GRAD
GRAD
GRAD
GRAD
044G
2312
091G
031G
089G
8960
120G
02-03
01
01
01
01
01
01
Collegiate Teaching Reflection and Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
From Immaterial to Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
*India: Design for Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Mapping the Intelligence of Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Object Lessons: The Artist and Designer in the Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
The Real World: The Artist as Cultural Entrepreneur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
GRAPH
GRAPH
GRAPH
GRAPH
GRAPH
GRAPH
GRAPH
W320
W344
W336
3239
3289
W322
3271
01,02
01
01
01
01
01,02
01
Graduate Thesis and Open Re/Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Hot Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Introduction to Graphic Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Print and Interactive Production Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Typography Elective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Web Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
34
Wintersession 2010
INDEX BY SUBJECT/DEPARTMENT 35
SUBJ
CRS
SEC
TITLE
HPSS
HPSS
HPSS
HPSS
HPSS
HPSS
HPSS
HPSS
HPSS
HPSS
HPSS
HPSS
HPSS
S729
S708
S562
S692
S510
S504
WS24
S124
S660
S451
S450
S667
WS19
01
01
01
01
01
01
01
01
01
01
01
01
91
Anthropology of Material Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Cinematic Representations of the Vietnam War . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Free Will and Determinism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
From Papyrus Roll to Printed Text: The History of the Book . . . . . . . . . . . . . . . . . . . . . . . . .
Harvesting the Sea: A History of Culture & Community, Tech. and the Environment . . . . .
Scriptures and Traditions in Judaism and Christianity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
*Mexico: Wintersession in Mexico . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
On Imagination: A Philosophical Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Schopenhauer and Nietzsche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Leadership of Social Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Matrix of Wisdom: Philosophy & Sci-fi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Mutable Past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Power of Whiteness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
ID
ID
ID
ID
ID
ID
ID
ID
2400
2452
8960
2301
2504
2402
W257
2425
01
01
01
01
01
01
01
01
Introduction to Industrial Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Metal II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Rendering Techniques for Product Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Shape and Form in Metal - The English Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
SolidWorks 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Wood II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Working with Handtools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
IDISC
7005
01
Design Science . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
ILLUS
ILLUS
ILLUS
ILLUS
ILLUS
ILLUS
ILLUS
ILLUS
ILLUS
ILLUS
ILLUS
ILLUS
5332
5238
5101
W571
5320
5209
8960
W527
W563
5323
5263
5233
01
01
01
01
01
01
01
01
01
01
01
01
2D or Not 2D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Caricature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
“Comics: Grammar of the Graphic Novel” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Introduction to Illustration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Merging Worlds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Photography I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Science Fiction and Fantasy Illustration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
The Collaged Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
The Two Legged Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Type in Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
XX/YY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
INTAR
INTAR
INTAR
INTAR
INTAR
2312
2300
2395
8960
2319
01
01
01
01
01
From Immaterial to Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
From This to That: Introduction to Interior Architecture for Non-majors . . . . . . . . . . . . . . . . . 7
Portfolio Prep & Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
the making of the int|AR journal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
J+M
J+M
J+M
4443
W431
8960
01
01,02
01
Jewelry CAD/CAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Jewelry Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
35
21
22
23
23
24
26
31
25
26
27
27
27
28
36
INDEX BY SUBJECT/DEPARTMENT
Wintersession 2010
SUBJ
CRS
SEC
TITLE
LAEL
LAEL
LAEL
LAEL
LAEL
LAEL
LAEL
LE21
LE68
WL17
LE14
LE33
LE50
LE59
01
01
01
01
01
01
01
Architecture and Design in the Age of Transnational Terrorism . . . . . . . . . . . . . . . . . . . . . .
Environmental Disasters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Film Investigations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Optics: Making Holograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Paleography: Western Handwritten Letter Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Theater Production Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Thesis Writing: Approaches to Critical Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
LDAR
LDAR
W207
8960
01
01
Graduate Seminar: Constructing Ground . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
NMSE
NMSE
NMSE
NMSE
4514
1500
1509
1510
01
01
01
01
Addressing the Sacred . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Digital Nature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Drawing Marathon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Figure Modeling Marathon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PAINT
PAINT
PAINT
PAINT
PAINT
PAINT
PAINT
PAINT
PAINT
PAINT
PAINT
4416
4420
4532
4417
4421
4418
4711
4538
4541
8960
4419
01
01
01
01
01
01
01
01
01
01
01
Dada Now: The History and Practice of Post Modern Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Engaged: Visualizing Contemporary Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Figure Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
From Collection to Creation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Hip Hop and the Paint Don’t Stop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Let Them East Cake: Picturing Class, Power and Excess . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Monster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Painting from Observation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Painting with Unconventional Means . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
TV in 2D: Painting a Televised World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
PHOTO
PHOTO
PHOTO
PHOTO
PHOTO
PHOTO
W561
5326
5350
W551
8960
5322
01
01
01
01-03
01
01
*France: Photography in Paris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Image Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Introduction to Digital Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Introduction to Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Professional Practice in Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
PRINT
PRINT
W479
8960
01
01
*Mexico: The Environment (The Flora and Fauna of Cuernavaca) . . . . . . . . . . . . . . . . . . . . 31
SCULP
SCULP
4775
8960
01
01
All Dressed Up and Nowhere to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
TEXT
TEXT
TEXT
TEXT
TEXT
TEXT
TEXT
TEXT
TEXT
W497
4803
4819
4816
W480
8960
4800
W498
W470
01
01
01
01
01
01
01
01
01
Degree Project & Thesis Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Fabric Silkscreen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
From an Idea to Meaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Machine Knitting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Pojagi and Beyond . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Surface Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Textile Degree Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
The Woven Rug . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
36
21
22
23
25
26
28
28
1
5
5
6
2010 WINTERSESSION ADDENDUM
as of 10/30/2009
New course offerings, revisions received after the Catalog Publication went to press.
Check WebAdvisor for course availability and current scheduling.
SCULP 4680
ART FROM THE LANGUAGE OF
ARCHITECTURE
3 credits
Jonggeon Lee
In this class we will focus on the intersection of sculpture and
architecture. Many contemporary artists use architectural
forms in their art to explore such issues as memory, time and
cultural difference. We will look at the works of artists such
as Gordon Matta-Clark, Gregor Schneider, Do-ho Suh,
Rachel Whiteread, etc. We will explore the role of function
in these sculptural works. The class will learn fundamental
building methods in wood, cardboard, styrofoam, plaster
among other materials. Assignments will encourage
experimentation in process, material choice and presentation.
Estimated cost of materials : $50.00
W,Th
1:00pm - 6:00pm
METC 114
GRAPH 3100
BASIC TYPOGRAPHY
3 credits
Katherine Hughes
This introductory course is intended for non-majors
interested in learning the basic principles of typography
including the study of letterforms, type classification,
legibility, organization and hierarchy, as well as text
applications, grid systems and page layout. Typography and
letterforms will be explored as both a means of
communication and a vehicle for expression. Projects may
include single text or poetry block studies, stationary, poster,
brochure or poster.
W,F
1:00pm - 6:00pm
DC 404/501
GRAPH 3256
BOOK AND PAPER ARTS
3 credits
Suzi Cozzens
This course will cover numerous traditional book structures
and derivations including accordion, pamphlet, japanese stab,
longstitch and smythe-sewn. Emphasis will be on both
craftsmanship and experimentation. Papermaking techniques
include fiber preparation, pulp mixing, natural and chemical
dyes and sheet formation. Students will utilize both native
and imported plant fibers and an extensive array of recycled
materials to investigate paper possibilities. The course offers
hands-on experience and a broad historical overview of paper
and book arts.
M,T
1:00pm - 6:00pm
48WM 006
TEXT 4808
DESIGN FOR DIGITALLY
PRINTED FABRICS
3 credits
Gina Gregorio
This intensive course moves from concept to design
development and then onto digitally printed fabrics. Students
start by creating presentation boards for color, pattern, and
application in order to establish direction in their work. With
Adobe Photoshop serving as the primary tool, the traditional
techniques of drawing, painting, and collage are integrated
with new design technology. Class instruction will lead
students through the Adobe software in the development of
design for extensive experimentation on the Textile
Department's Mimaki fabric printer. Students will be
encouraged to go beyond the boundaries of traditional textile
design to meet the possibilities of this exciting technology.
Fee: $100.00
W,Th
1:00pm - 6:00pm
CB 217/446
ID 2402
DESIGNING WITH SOLIDWORKS
3 credits
Adam Smith
Along with learning advanced SolidWorks techniques and
getting a chance to spend more time practicing the use of the
software, students also learn about designing for plastic as a
flexible elastic material. Students get firsthand experience
developing ideas towards plastic components with two
student projects. The first will be built with the ABS rapid
prototype machine, and the second will be fabricated with a
CNC milling machine. The course offers students the
opportunity to explore and develop good design and form
solutions towards their ideas. CAD refinement of the ideas
through SolidWorks brings the final design simulation to a
level of detail appropriate for final manufacturing and
portfolio. Thus, students learn the process of developing
ideas from rough concept hand sketches to a final
manufacturing and portfolio. Thus, students learn a process
and workflow, developing ideas from rough concept to final
machined parts. Students enrolled in the course need a basic
understanding of the SolidWorks interface before taking this
class.
Fee: $100.00
M,T
1:00pm - 6:00pm
161S 502
J+M 4382
HAND WROUGHT
3 credits
Jeff Clancy
In this course, students will explore the various formats,
techniques and materials that are necessary to gain an
understanding of utilitarian objects and hollowware for the
table. Students will learn the fundamental processes related
to hollowware including raising, forming, forging, dieforming and stretching. Through learning these techniques in
project format each student will develop a genuine
understanding of the intrinsic malleable character and
structure of non-ferrous metals. In addition to the forming
process surface embellishment through basic chemical
patination, mark making and texture will be covered. Projects
will be designed to furnish each student to explore their own
visual and conceptual interest and vocabulary through an
experience steeped in rich, inspiring and rewarding historical
technique and process.
Th,F
1:00pm - 6:00pm METC 214
GRAPH W344 HOT PRINTING
3 credits
M. Stevens/J. Greenfield
A studio course in which you can play with the creative
potentials of several graphic print media – focusing on wood
and metal type, letterpress, and silkscreen. A chance to create
one-of-a-kind prints made from printers' materials
traditionally used to make multiple, identical copies. Use the
letter as constructive or a representational element. Learn
basic techniques and experiment with overprinting and
mixing print processes. Test your intuition and spontaneity
by bringing printer's inks to all kinds of papers and new life
to everyday words and sentences.
Fee: $50.00
W,Th 1:00pm - 6:00pm DC 301 (Type Shop)
PRINT 4600
INTRODUCTION TO INTAGLIO
3 credits
Patrick Egger
In this 3 week studio seminar, students will explore drawing
through basic intaglio techniques. Line etching, hard ground,
soft ground, sugar lift, aquatint, drypoint, and chine colle will
allow students to discover mark- making and personal
drawing style. The first week will consist of intensive
demonstrations, followed by two projects (first project due at
the end of week one, second project due at the end of week
two) and a final portfolio exchange between the class for
week three. A MinskoffDrawing/Print room tour will give
students an in depth exposure to the medium and provide
source material from which they will start projects. Critiques
will follow each work week with the intent of exchanging
thoughtful analysis and opening a critical dialogue between
peers.
Fee: $300.00
M,T
9:00am - 2:00pm
BENS 206
W,Th
12:00pm - 5:00pm
PRINT 4500
SCULP 4580
"HOW AM I NOT MYSELF": AN
INTRODUCTION TO
EXPERIMENTAL PERSONA
3 credits
Charles Anders Johnson
"Many cultures tell stories about people who pretend to be
other people pretending to be them, thus in effect
masquerading as themselves, impersonating themselves,
pretending to be precisely what they are. This great theme, in
literature and in life, tells us that many people must put on
masks to discover who they are under the covert masks they
usually wear, so that the overt mask reveals rather than
conceals."
-Wendy Doniger, The Woman Who Pretended to
be Who She Was
This course introduces several modes of the artist persona
and anima, both in practice and in theory, in the hope that
persona will allow for a different approach in the artist’s
studio. As artists, we have the tendency to build up a narrow
perspective on our work and ourselves, thus decreasing
experimentation and the willingness to fail. Stepping into a
character other than oneself can allow an artist to make work
with a new sense of freedom. This course will approach
persona with humility, as a basic understanding and as a
studio exercise. Each week we will engage in discussion of
critical essays, films, and other depictions of persona in a
diverse range of sources from rap culture to religion, to
magic. Simultaneously there will be weekly and biweekly
studio exercises that promote free experimentation in creating
art through a process of acting.
W,Th
1:00pm - 6:00pm
METC 114
DM 2011
INTELLIGENT SENSING AND
CONTROL
INTRODUCTION TO
SCREENPRINTING
3 credits
Tyson Jacques
Text induces pause in the viewer, it shifts the response of the
viewer to include the definition and cultural experience of the
word. Artists like Ed Ruscha, Robert Indiana, Jenny Holzer
and Enrique Chagoya (among others) will be discussed in
how they use words and the hand written word as imagery
rather than as a symbol for their given subjects. Does the
scale of the text within a piece determine its importance or is
it more reliant on its color within the piece? Since words
often change with their cultural context, how does the work
change in different settings? The class will begin with a
review and discussion of historical uses of text in art, and
then move to the studio where students will learn various
water-based silkscreen methods. This class will focus on
silkscreen as a medium and on words and letters as symbolic
imagery.
Fee: $300.00
Th,F
1:00pm - 6:00pm
BENS 306
J+M 4333
JEWELRY CAD/CAM
Open enrollment; Permission of instructor removed
DM 7040
MATERIALIZE INFORMATION
3 credits
Kai Franz
Given our increasing interactions with invisible information
in contemporary creative practice as well as everyday life,
information becomes both ubiquitous and progressively more
influential. Parametrization, adaptive architecture,
performative design, natural phenomena, emergence and
information art - Among others, these expressions are used
by a new generation in the field of art and design.
Throughout this course we will sensitize our self for the
occurrence of invisible information and learn to expose it to
create meaningful data based sculptures and designs.
During the class you will be introduced to Rhino
and in particular Rhinoscript / Visual Basic. Rhino is a 3d
modeling software, which allows the complex modeling of
3D forms. Rhinoscript will be our tool for a computational
approach in spatial design. Step by step you will (1) learn the
basics of scripting in the Rhino environment, (2) how to load
digital data into Rhino, (3) organize this information, (4)
transform this data into geometry and (5) prepare complex 3d
models for production. We will look at different rapid
prototyping approaches, and explore the entire process from
information to its materialization. In the end, each student
will generate and fabricate a data based sculpture or design
via scripting. The technical part of programming and
procedural modeling will be complemented by a critical
discourse on the contemporary use of generative approaches
in fine art, textile design, architecture and other artistic disciplines.
No prerequisites are required, except curiosity.
W
1:00pm – 4:00pm
MASN/CIT 305
Th,F
9:0am – 12:30pm
ARTH H655
*MEXICO: THE ETHNOGRAPHIC
MUSEUM
3 credits
Winnie Lambrecht
This course is object-centered and will explore the theories
and methodologies that have been adopted for the display of
ethnographic materials in museums over time. Students will
have the opportunity to visit a number of local and regional
museums, exhibitions and private collections. We will talk to
collectors and to curators, and engage in exercises that focus
on the display of objects for general audiences. This will give
students a general background on such questions as: how can
3D objects best be displayed? What information should
objects be displayed with? What are the goals of an
ethnographic exhibition? How are exhibitions organized? Is
modern technology making museums obsolete? What are the
repatriation regulations, and how have they impacted
collectors and museums? The course will require a number
of weekend visits to collections, as well as a final project that
will be object-centered.
Students also register for NMSE 4655 for 3 credits,
instructor Millee Tibbs
PRINT W064
MONOPRINT
3 credits
R. Ballowe/S. Quamina
What is the role of process in conceptual art? Strategical
Methods In Conceptual Printmaking is designed to serve as
a tool to open the minds of students to conceptual and visual
thinking. Throughout the course of the session students will
be introduced to methods in both oil-based and water-based
monoprinting, and basic book making techniques. Readings,
museums visits, and open class discussions will assist in
developing new working methods. Examples of writings
from E.E. Cummings and Susan Orlean will be used as
jumping off points for artists in many media outlets from film
and music to painting and printmaking. Artists such as Jane
Kent, Paula Rego, Santi Moix and Kara Walker will be
closely examined to show how using inspiration from writing
and writing methodology can introduce new life into a work
of art. The written and printed works completed in this
course, will ultimately become an artist book that will
exemplify the development of a solid concept into multiple
diverse forms.
Fee: $300.00
M,T
2:00pm - 6:00pm
BENS 206
W
9:00am - 11:00am
FURN 2453
OPEN MIND AND THE CURIOUS
HAND
3 credits
Debra Folz
Through open minds and curious hands, the investigation of
alternative materials and manufacturing techniques can
produce unexpected inspirations. Wax, wood, fiber,
recycled/found objects, natural elements, unconventional
surface treatments and innovative connections are offered as
points of departure for the exploration of and applications to
furniture forms. Open interpretations and consideration of
materials allows the space to incorporate the language and
techniques of your own discipline. We will create a small
laboratory of materials to experiment with. There will be
supporting presentations and group discussions. Initial
research will be applied to a sculptural vessel, reserving a
longer period of exploration to work towards a small
furniture object.
$50.00
Th,F
1:00pm - 6:00pm
BANK 204
GRAPH 3239
PRINT AND INTERACTIVE
PRODUCTION TECHNIQUES
3 credits
Mitchell Goldstein
This course emphasizes the integration of digital production
techniques for print and screen. Students work on a semesterlong project that will culminate in a printed book and
companion website. Working with an array of software
programs, students will develop technical and aesthetic skills.
Topics covered will include drawing skills, resolution issues,
file management, typesetting, offset lithography and its
preparation, managing file sizes for the web and interactivity,
website architecture and online content management.
M,T
1:00pm - 6:00Pm
20WP 024
PRINT 4501
REBUS. AGAIN, ANEW, BACK,
BACKWARD
3 credits
Gregory Kalliche/Kathryn Hodges
This course is designed as a 3-week studio intensive class
that utilizes an array of techniques, media, and exercises to
investigate the activity of research and the context of the
printed image. The class will begin with water-based
silkscreen methods as a foundation for sampling and
recombining images. At the same time, introduce the idea of
making collections and archiving source material as a refined
practice that formalizes research into an aesthetic project.
Fee: $300.00
M,T,W,Th
9:00am - 2:00pm
BENS 306
PRINT W456
RELIEF PRINTMAKING
3 credits
Damian Cole
This course is an introduction to the traditional technique of
the woodcut print. It is a simple medium capable of
producing a wide spectrum of bold to very rich imagery. The
course will primarily use the water based Japanese method of
printmaking which does not require a press. In addition to
this method, the use of oil based inks, and other methods of
producing a relief print will be taught. Through
demonstrations, creative and technical assignments, and the
viewing of contemporary and art historical examples,
students will be introduced tot he practice and the aesthetics
of this expansive medium.
Fee: $300.00
W,Th
1:00pm - 6:00pm
BENS 101
ARTH H449
SELF-PORTRAITURE AND THE
DEATH OF THE AUTHOR
3 credits
Jonathan Weinberg
This course will focus on the history of self-portraiture and
modes of self-identity from the vantage point of feminism,
queer theory, and of post-modernist critiques of the so-called
author function. We will look closely at self-portraits by
artists ranging from Rembrandt van Rijn to Cindy Sherman,
and from Albrecht Dürer to David Wojnarowicz. Students
will be asked to write about artists’ self-portraits and also
construct their own written and visual autobiographies. We
will read memoirs by artists, as well as essays by Barthes,
Foucault, and Krauss.
M,T
1:00pm - 4:00pm
DC 212
DM 2012
SPACE IN NEW MEDIA
INSTALLATIONS
ARCH W202 02 *SWITZERLAND, LUMBREIN:
ERECTING AN EXHIBIT FOR THE
SPAZI CRISTAGL
6 credits
Ramun Capaul
In 2003, the Spazi Cristagl in Switzerland was discovered at
the Pez Regina in Val Lumnezia. Considered the find of the
century, the crystal was displayed at the 2005 World
Exhibition in Japan.
The municipality of Lumbrein recognized the
cultural and economic value of the crystal and purchased it
together with the other municipalities from the valley. A
project group was appointed to investigate the ideal exhibit
space. They discussed several locations in the village, but
ultimately selected the open landscape. The project group
came up with a plan for a mythological hiking trail, which
aims to connect the various cult sites in the valley. The
crystal exhibit will be a significant post on this trail.
Students will design the exhibit in the natural setting
of the historical site in Sietschen. During the first week, the
group will study the Lumbrein settlement — a historical
model for addressing traditional architecture, its topographic
conditions, and experiment with materials found to create an
archetype for this function. Participants will then work on the
materials gathered the first week in the workshops of a local
stonemason and a carpenter. Various excursions and lectures
will provide insight into the architectural styles in
Graubunden and Switzerland. Students will present their
findings, sketches and drafts as a first intermediate review
during the final two days.
Also offered for 3 credits as ARCH W220 open to non-majors
as an independent drawing course.
NMSE 1514
THE CONSTRUCTED DOSSIER
3 credits
Pamela Unwin-Barkley
This studio will present a range of concepts as a platform for
students to build artist’s books, based on their life before,
during an dafter RISD. Students will develop a conceptual
framework around their own work and find connections
between intention, the design process and the final
realization. The Artist’s books can be defined broadly. They
may be a collection of folios, fold-outs, or pop-ups that are
bound or otherwise connected, observed in sequence or
predetermined and comprised of elements both textual, and
pictorial. They may be published in small editions or
produced as one-of-kind objects. The content and form of the
artist’s book will be considered together and given equal
significance, so that the books become more than a simple
container for information. Assignments will include: research
studies, analytic studies, written assignments and
constructing 2D and 3D prototypes to produce a final
constructed book.
This course is to encourage accurate observation,
reflection, and contextualization while probing ones artistic
values as well as to appreciate others.
Prerequisite: Students are required to have quality
representation/examples of their own projects or actual work
on hand.
Fee: $75.00
W
1:00pm - 6:00pm
41MT 100
Th,F
9:00am - 6:00pm
we will integrate watercolor with other materials such as
gouache and even charcoal and we will challenge our
conceptual starting place to better take advantage of
watercolors unique strengths. If you've ever wondered how
Sargent or Wyeth or Wiesner could bend watercolor so
completely to serve their ideas then this is the class for you.
M,T
9:00am - 6:00pm
ISB 407
W
9:00am - 12:00pm
FAV 4500
THWECK!?
3 credits
Roger Miller
An exploration in using/creating sounds to support narrative
moving images. In this course, you will record expressive
sounds that you find in the world (creeeek), make soundmachines (ticka ticka ticka) and practice recording sounds in
support of film, video and animation screenings
(taar!_ataaik). The studio will draw heavily from the tradition
of producing live audio for radio drama and silent film.
Prerequisites: Any one of these: FAV 5100, 5103, 5105,
ILLUS 5202, PHOTO 5321, or D+M 7100
Fee: 150.00
W,Th
1:00pm - 6:00pm
AUD 430
Th
1:00pm - 6:00pm
MKT 207
CANCELED COURSES
ID 2015
WHAT IS GREEN?
3 credits
Charlie Cannon
What is green, what is sustainable? Over the past fifty years
the environmental movement has offered trenchant critiques
of the faith in technology that defines so much of
contemporary culture. During that same period, designers
have questioned their contribution to consumer culture. The
concerns raised by environmentalists and activist designers
are not a passing trend. In fact, sustainability is transforming
design thinking and design practices. Through reading and
discussion this course will provide students with a critical
overview of current eco-design principles and framework as
well as a nuanced understanding of the tools and techniques
of green design. At the completion of the course, each
participant will have developed his/her own framework for
sustainable practice. To arrive at that position students are
expected to complete weekly readings, participate in class
discussions, write critical reflections and a final paper.
M,W
1:00pm - 4:00pm
161S 313
ILLUS 5328
WICKED WATERCOLOR
3 credits
Jason Brockert
Traditionally, watercolor is thought of as the poor second
cousin to oil paint; "it's painted on paper, it's too delicate, it's
all transparent and it just can't hang." In Wicked Watercolor
we will dispose of these myths and challenge the limits of
what watercolor can do. Our goal will be to make
aggressive, powerful images that step beyond our
preconceptions. The class will center on balancing the
technical mastery of our materials with the clarity of effective
visual communication. We will work at a much larger scale,
GRAPH W322 02 TYPOGRAPHY ELECTIVE
ID 2301
RENDERING TECHNIQUES

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