2D Intensive 1


2D Intensive* will support a combination of practices that concentrate on surface, including drawing, painting, collage, and any combination, including printmaking and photography. An array of materials and processes will be work-shopped throughout the seven-week period, as well as individualized instruction geared towards development of each artists practice beyond the classroom. Working in multiple modalities simultaneously will be encouraged.

Course number: ART-292
Prerequisite: Take ART-101, Re-Thinking Art

3D Intensive 1


3D Intensive will be inclusive of sculpture and installation practices in a wide variety of materials and spaces. An array of materials and processes will be workshopped throughout the seven-week period, as well as individualized instruction geared towards development of each artists practice beyond the classroom. Working in multiple modalities simultaneously will be encouraged.

Course number: ART-293
Prerequisite: Take ART-101, Re-Thinking Art

4D Intensive 1


4D Intensive includes all time-based practices, such as performance, video, film, and sound. An array of materials and processes will be workshopped throughout the seven-week period, as well as individualized instruction geared towards development of each artists practice beyond the classroom. Working in multiple modalities simultaneously will be encouraged.

Course number: ART-294
Prerequisite: Take ART-101, Re-Thinking Art

5th Term Review


Fifth Term Review class is a preparation course to assist students for participating in their fifth term review. In this important review, students will need to present a body of current work to Fine Art Department core faculty, write a statement about their work, and demonstrate an ability to discuss directions and issues within their own artistic production. This course acts as a departmental gate between lower division "foundation" courses and upper division level classes based on individual pursuits, including their Senior Projects graduation exhibition. Fifth Term Review is a required class which acts as the prerequisite for ART 401 - Post Re-Thinking Art (6th term) and for ART451- Senior Projects 1 (7th term) and ART 452 Senior Projects 2 (8th term). NOTE: Previously entitled, Mid-Program Review, this review now takes places in the students fifth term - when a student meets the 60 units requirement.

Course number: ART-300
Prerequisite: Take FAR-204/ART-204, Art: Structures and Systems Must complete a minimum of 60 credits.

8-1/2" x 11": Studio Writing

"8? x 11: Studio Writing" is a studio class designed to encourage a new way of thinking about the role of writing in art making. In this class writing is acknowledged as an essential, inextricable component of artistic practice and as a kind of art in itself. The class consists of studio time, critiques of work, and individual meetings. The course is structured around three language-based assignments with topics ranging from film, music, and fiction, to students' own art practices. Readings include essays on insects, magical realism, and "The Big Lebowski". Over the course of the term students will develop written voices as strong, nuanced, and unique as their artistic voices.

Course number: ART-331
Prerequisite: Take FAR-204 or ART-204, Art: Structure & Systems

Advanced Ceramics

Advanced Ceramics: This course is intended to build on the basic information from the prior introductory hand-building ceramics course. Learners will increase their technical skills in building, glazing and firing, and whatever other processes are appropriate their concepts. They will also further develop aesthetic sensibilities including the critical use of historic and contemporary references in ceramics and other arts. There will be a final exhibition of student works, as well as a class potluck utilizing ceramics built in the class.

Course number: ART-230
Prerequisite: Take ART-230L, Advanced Ceramics Lab concurrently

Advanced Ceramics Lab

Advanced Ceramics Lab: This three-hour lab is a co-requisite for the Advanced Ceramics class, which follows the Advanced Ceramics ART-230 class.

Course number: ART-230L
Prerequisite: Take ART-230, Advanced Ceramics concurrently

Advanced Drawing

Drawing has always been an important part of artistic practice from the simple thumbnail sketch to drawing as a primary medium. In the last ten years, drawing has become the topic of many books and exhibitions that chronicle drawings expanded definition in contemporary art. Advanced Drawing will explore the role of drawing in contemporary art through projects, lectures, critiques and field trips. The goal of this class is to challenge your definition of drawing, and to set into motion a personal drawing practice that fits your sensibilities as an artist. Students will leave this class with an expanded definition of drawing in the twenty first century.

Course number: ART-371
Prerequisite: Take FAR-101/ART-101, Re-Thinking Art

Advanced Painting


Advanced Painting is a class that will allow students the ability to create, develop and maintain a sophisticated studio practice in the field of painting. Students will research and develop an independent project in the field of painting that will be pursued throughout the term in a manner chosen by them that will culminate in final presentations and critiques at the end of the term. All iterations of the medium will be covered down to the most intimate detail and possibilities for surface and format will be explored completely. Students will be exposed in particular to techniques, formats and materials that have not been covered in previous less advanced classes as well as a deeper reading and understanding of more traditional mediums. All iterations of painting will be permitted and students will not be restricted to only a two dimensional format. Emphasis will be on the development and comprehension of course material as well as the creation of work that could potentially be used for portfolio and further advancement including graduate school application. There will also be a strong focus on examining the history of painting from the past to the immediate present and students will constantly be exposed to the extensive body of information that is contemporary painting. Museum, gallery visits and any other outside information will be an important part of the class as we will seek out any and all relevant information available during the course of the term. Students will be graded on the sophistication, development and presentation of their work. Class participation as well as the ability to pursue discourse within this chosen field will be very important and will factor into the grading process.

Course number: ART-311
Prerequisite: Take Art-101, Re-Thinking Art

Advanced Sculpture

Advanced Sculpture focuses on student-driven projects, moving forward from the material investigations and three-dimensional concepts introduced in Sculpture One. Students will gain deeper knowledge of sculpture history and the veins of contemporary sculpture. Initial concept development will be tested in multiple material experimentations and supported with additional workshops in new materials. Students develop presentation skills including more nuanced finishing details, installation strategies, and verbal and written articulation of ideas. Areas of inquiry include, but are not limited to--site and body, objects and props, monuments and ephemerality. Course work includes three projects with graded stages of development, readings with written responses, workshop exercises, installation and critique, and field trips.

Course number: ART-212
Prerequisite: n/a

Advanced Video Art

Advanced Video Art builds on knowledges and practices gained in Video One and applies them to more complex projects. Readings, screenings, and discussions will enhance an understanding of contemporary discourses and conceptual frameworks of video and film in art. Students will work on independently driven projects that explore time-based media forms such as single channel video, analogue film production, video performance, and installation.

Course number: ART-277
Prerequisite: Take ART-271, Video 1

Art & Photography

Photography reflects the illogic of defining present day art-making as media-specific; it is a "field" produced out of the intersections of digital-imaging, drawing, cinema, performance, sculpture, painting, and even sound. In turn, photography stands released, so to speak, from its responsibilities as document and representation. In this course will look at photography as invention, play and experience, which addresses what-is-photography, what-is-now in the 21st century. This course is project based, and includes lectures, readings and discussions, visiting artists/curators. Critiques and discussions will be planned for individual student projects, as well as the production of a student-curated exhibition and small exhibition catalog. Studio hours (3.00) (3.00 cr), Pre-requisite: ART-204

Course number: ART-273
Prerequisite: Take FAR-204/ART-204, Art: Structure and Systems

Art and Revolution

Art and Revolution is an interdisciplinary studio class that looks at the histories of rebellion and movements of social change through the lens of aesthetics and their corresponding modes of art production. Many art movements can trace their lineage of innovative art creation to solutions based in the concrete realities of society and the related politics experienced in space and time of that moment. Art and Revolution will chart a path manifested by artists globally beginning with the French Revolution and ending with the contemporary populist uprisings of Black Lives Matter. Students will gain a greater comprehension of the role and interconnections between content and diverse kinds of art media. They will explore how such constellations of knowledge inform performance art, art in public spaces and sculptural objects, body art, film/video/TV, social media, posters, graphics and multiples, architecture and furniture design, as well as painting and drawing. Additionally, students will look at representative artworks, read historic manifestos and analytical texts and will be expected to write weekly one-page opinion papers in response to the artworks shared in class. Finally, students will submit a research paper with citations on an artist's practice of their choice, which will reflect their understanding of the work in the context of the prevailing social conditions.

Course number: ART-341
Prerequisite: Take FAR-204/ART-204, Art: Structure & Systems

Art in the Age of Neuroscience


Technical advances in brain imaging offer new insights into the neurological underpinnings of consciousness. Yet the new science of mind leaves many unanswered questions regarding philosophical, cultural and spiritual aspects of subjectivity. Who is the "I" that makes art and who is the "I" that experiences it? Drawing from a broad range of disciplines, this hybrid seminar / studio course examines questions of subjective experience while paying particular attention to media and linguistic theory, cognitive psychology and theories of consciousness. The material is topical and the readings are guided. Of paramount importance is your commitment. Active participation in discussions, activities, self-directed research and creative production is required.

Course number: ART-364
Prerequisite: n/a

Art: Structure and Systems


This class will examine a variety of strategies that contemporary artists use to give their works structure and internal coherence. We will research a wide range of approaches with an emphasis on hybrid and experimental forms, but that nevertheless draws on each student's already existing practice. Art: Structure and Systems is a gateway to upper division studio courses, as well as a pre-requisite for the Artmatters Concentration.

Course number: ART-204
Prerequisite: ART-202, Studio Practice -AND- ART-305, One on One C

Artist's Books

Artists' Books For students who want to explore making sequentially developed ideas in traditional and nontraditional book forms. Creating books is a powerful way to infuse your practice by finding new methods to come at ideas and themes, and it also increases visibility of your work and professional profile. Students will learn how to conceptualize and produce artists' books through assignments, critique and exposure to tools and materials. The course also includes field trips to see the works and studios of people who produce artists' books and/or run presses and print shops. Students will produce books intended for the production of multiple copies, rather than single copy hand-made volumes. Production techniques that will be covered and may be used for final production include silkscreen, offset, riso and digital printing as well as researching materials, papers and book binding methods. In addition to producing their own book works, students will research the history and methodologies of different book art practitioners, and study narrative and conceptual approaches to using sequential page formats.

Course number: ART-253
Prerequisite: n/a

Aux: Curatorial Practicum


Auxiliary: Curatorial Practicum This activity will look for strategies and coordinate the shared "visual display" areas at 870 while expanding student participatory ART experiences. This activity offers a "hands-on" experience for students interested in the practical nature of curating. Using a "cradle to grave" approach, we will identify issues, locate work, create communications surrounding exhibition experiences in the physical and digital environments: with the general public in mind. [This is not room planning, authorization seeking or permission granting activity.]

Course number: ART-233
Prerequisite: n/a

Berlin History and Artists


A Berlin trip to visit the museums, galleries and historical sites, as well as to meet artists and curators and attend performing art events. PLO: 1. Firsthand exposure to the historical riches in Berlin. 2. The chance to put history into context. 3. Exposure to art and points of view other than those encountered in LA.

Course number: ART-801A
Prerequisite: n/a



Beginning Ceramics Sculpture Hand building clay offers endless sculptural opportunities. This Beginning Ceramics Sculpture course offers an introduction to the methods, vocabulary, and technical information essential to hand building and glazing ceramics sculpture. A variety of techniques will be explored including pinching, slab formation, coil building, hump/slump molds, and glazing. Additionally, surface techniques and finishes such as terra sigillata, sgraffito, and laser print decals will also be covered. As context is critical, students will be exposed to the history of ceramics as well as become cognizant of current artists working in this field through the inclusion of slide presentations, reading assignments, class discussions, and museum trips.

Course number: ART-130
Prerequisite: n/a


Collage There is an extremely persuasive argument to be made that collage - as a practice and structure - both formal and conceptual has informed much of the art of the last hundred sum-odd years. This STUDIO course will explore the history and practice of collage making. The course will be divided into 3 segments - Two-dimensional: flat, picture-making and looking at the history of collage from Dada and early abstraction - through to contemporary artists whose work is rooted in ideas and practice of collage. Three-dimensional: focusing on object making, the navigation of physical space, and ideas such as the ready made or "assisted" ready-made will be as essential in this exploration as the generation and creation of materials for production. And, fourth dimensional: the integration of time into collage based work, generating new ideas and methods of production with the freedom to bring different things together with actions, movements and ideas. This course is first and foremost a studio class and will be work intensive. The structure will be based around weekly in class work as well as ongoing and weekly projects outside of class. This class is open to anyone interested in collage as an idea - as a concept - and is not intended only for picture makers.

Course number: ART-262
Prerequisite: Take FAR-101 or ART-101

Community and Co-Evolution

This course explores the ways differing communities actually shape the places in which they live. Los Angeles offers multiple models of how to construct community in response to the gaps between public infrastructures and actual living conditions. Natural and urban environments, geographic displacements, imported social practices, economic challenges, and relations with other communities all interact to generate distinct forms of living together, and a range of alternative support systems. How these cultures evolve and are transferred--across distances and generations--and the role of art and image-making in that process, will be the basis of research, engagement and studio projects. Working with community partners and other means of immersive learning, students will gain direct experiences in concrete contexts, and be exposed to sources of knowledge ranging from the liberal arts and design disciplines, to governance and public policy, to the unofficial practical and cultural knowledges held by community leaders outside academia and institutions. Studio projects will focus upon collaborative approaches that respond critically and creatively to the conditions, dynamics and aspirations of partner communities.

Course number: TDS-370
Prerequisite: n/a

Contemporary Issues

This seminar for upper term and graduate students focuses on distinct contemporary issues adjoining concepts of fine art production. Students will be encouraged to better define their own art production in relationship to the historical and theoretical dialogue of the class.

Course number: ART-241
Prerequisite: Take FAR-204/ART-204, Art: Structure and Systems

Costume & Design

Art and fashion have been closely related for a long time and have grown ever closer in the modern era. It appears that in the 21st century the speed and frequency with which ideas flow between the two areas is accelerating, some clear evidence of which is Karl Lagerfeld's Spring 2014 show at the Grand Palais based on contemporary art references, a similar contemporaneous show in Milano from Miuccia Prada and collaborations between Raf Simons and Sterling Ruby). The common view of the art/fashion nexus is that the flow between the two is mainly uni-directional, that fashion draws freely on (sometimes illicitly appropriating) fine art and incorporates it into fashion garments in ways ranging from oblique references to near-exact reproductions. This view, however, is inaccurate: Though not as obvious, usually indirect and with specific examples less easy to cite, the flow of ideas and information from fashion to fine art is substantive and important. Fine art is not created in temporal and cultural isolation chambers: artists operate from within historical/geographical/cultural contexts and contribute to and are located within a 'visual' zeitgeist (to use Hegel's term). Nowadays the visual zeitgeist in which artists operate is a veritable universe composed of innumerable pieces of visual data relating to color, shape, pattern, scale, cultural references and more, with an ever-shifting geography of trends, preferences, hierarchies, innovations and terminations. This zeitgeist, though, is created not just by the output of artists but by the output of designers, of all types, all of whom are constantly making choices related to those visual variables: it is in fact an 'art/design zeitgeist'. Fashion is perhaps the single largest area of design, and certainly the area that directly affects most people; it is arguably therefore the most important of the design fields. By the nature of its product it is also the most dynamic area of design, in a constant state of innovation and flux, with an accelerated rate of turnover. Its contribution to the 'art/design zeitgeist' in every aspect, is enormous and its influence on all the other areas of design and on fine art is constant and deep. It is important for students of fine art to understand the connections between their own discipline and that of design, specifically fashion design, through the commonality of the same 'art/design zeitgeist'. A course on this topic should include sessions reviewing specific examples, historical and contemporary, of the art/fashion nexus, operating in both directions, as well as, perhaps, an overview of some of the related philosophical writings on the subject. Class assignments could include creation of fine art and/or fashion garments displaying influence from the other discipline. On a practical note, fashion designers are increasingly looking to recruit new employees with a background in fine art, finding that artists' creative instincts often give rise to original ideas that can effectively incorporated into new garment designs. This course could give fine art majors an insight into an alternative outlet for their training and skills.

Course number: ART-342
Prerequisite: Take FAR-204/ART-204, Art: Structure & Systems

Culture Online

Course number: ART-256
Prerequisite: n/a

Defining Your Work

The process of growing as an artist is one of experimentation and play, coupled with self-examination and self-definition. This class is about the latter: learning how we see ourselves in relation to our peers, other artists, society and history, and learning to articulate ideas that define your interests. Part of our job as artists is being able to speak for our work and to join in the lively conversation that surrounds the production of contemporary art. During this class you will not only discuss your work in relation to history, you will place other students' work into a similar context and learn how to speak and write concisely about the sometimes incredibly imprecise world of creativity. At the end of this class, you will have experience redefining your expectations about your own work through class exercises, critiques, writing, interviews all to build a more objective view of what you do creatively. This class is recommended for students fourth through seventh term.

Course number: ART-276
Prerequisite: Take ART-101, Re-Thinking Art

Deviant Practices


This studio class is designed to address a problem we all have, throughout our lives as artists: the rut. We become complacent about our art work, the routines we have in the studio, our usual relationship to our ideas and our materials. It's useful to shake ourselves up, do something that seems opposed to our usual paths. This course works as an exorcism for the same-old, same-old. Through projects, discussions of art, films and literature, we will challenge you to question ideas of mistakes or wrong turns and to explore how notions of good and bad are formed in art making. We'll push you to divert from any style or formula that your work might have taken, to follow paths that you may be neglecting in the creative process. Come make "bad art" with us!

Course number: ART-232
Prerequisite: n/a

Dialogues w/Visiting Artists

Two notable visiting artists teach seven-week sequential sections. Focus is on critical ideas and various media.

Course number: ART-352
Prerequisite: Take FAR-204/ART-204, Art: Structure and Systems

Drawing 1


Drawing 1 explores the role of contemporary Fine Art in the form of drawing projects with lectures on a range of subjects and procedures pertinent to drawing. The basic learning objectives for Drawing 1 will focus on developing & maintaining a sketch book; understanding the difference between drawing from direct observation and drawing from photography; exploring the differences between abstraction and nonobjective drawing, as well as, creating drawings as site-specific projects.

Course number: ART-171
Prerequisite: n/a

Experimental Animation

This course will take the history of animation as a starting point for an investigation into non-indexical or non-photographic moving images and the expanded field of digital media in the 21st century. The relationship between animation and film is complex; although animation is the older art form it has often been assigned a secondary status in the history of moving images. The rise of digital animation processes and the large scale abandonment of analog film recording in the late 20th and early 21st centuries has caused a rethinking of the relationship between film and animation. The digital, non-indexical image has modified the way we perceive the photographic, and animation has pervaded and superseded film. We will alternate between reading and writing, in-class discussion, technical demonstrations and critique. Demos will include digital compositing, strategies of appropriation, collage and animation, using Adobe After Effects and non-linear video editing software (Final Cut Pro or Adobe Premier.) Early in the term, students will be responsible for completing two short, moving-image projects, and by the end of the course each student will present a completed animation project. Readings will cover both the early history of animation and proto-cinema, as well as texts by contemporary thinkers and artists on the subject of digitality and circulationism.

Course number: ART-372
Prerequisite: n/a


This course is 5-hour studio course where we explore looking in art, film, photography, and social media technologies as they pertain to documentary. Observation, witnessing, and voyeurism are key acts in representing and documenting but, so are surveillance, spectacle, and performance. Looking, especially in the documentary, raises complex social, ethical, and psychic issues. Who is doing the looking? Who or what is being looked at, and under what conditions and what contexts? Such questions have plagued documentary practices and some of the presumptions towards representing truth and reality. This course will investigate such issues in photography, film, and art through projects that test the frames of being framed, and framing others. Students will be critically engaged in questions of representation, identity, subjectivity, and the politics of observation and documentation.

Course number: TDS-332
Prerequisite: Take CUL-332

Fiber Art

An intensive skills class to cover basics in crochet, knitting, macrame, and frame-loom weaving. This class is an introduction to a range of techniques associated with fiber arts. Through readings and discussions students will learn how artists who work with fiber address issues around process and material, as well as ideas around labor, value, sexual politics, and political activism. In addition to hands-on learning, there will be class discussions around reading materials from the curators, artists, and academics on various aspects of fiber art.

Course number: ART-315
Prerequisite: n/a

Field Intensive 1


The FIELD Intensive is an outward facing course that includes studio, gallery and museum visits and investigations into urban and rural landscapes that inspire art practice. Guest artists and multiple faculty will rotate through this class encouraging curiosity and an investigative approach for a life-long art practice.

Course number: ART-295
Prerequisite: Take ART-101, Re-Thinking Art

Fine Art Seminar

General Course Description: This seminar for upper term and graduate students focuses on distinct contemporary issues adjoining concepts of fine art production. Students will be encouraged to better define their own art production in relationship to the historical and theoretical dialogue of the class.

Course number: ART-381
Prerequisite: Take FAR-204/ART-204, Art: Structure & Systems Take FAR-300, 5th Term Review or ART-300, Mid-Program Review

Given Time

From historical influences to the duration involved in viewing a picture, time is the most influential yet most intangible component of our experience. Given Time is a class devoted to the exploration of time-based mediums, as well as various articulations of time in contemporary art. This class will offer a primer on moving picture history as well as a review of technological reproduction and its impact on art. Pertinent texts, movies and audio recordings will be examined and discussed along with a survey of various approaches to addressing time in artworks. Areas of investigation to be covered will include the work of music composers from Eric Satie to Steve Reich to Carl Craig of Detroit Techno fame, motion picture art from the films of Orson Welles to the film installations of Tacita Dean, the videos of Bruce Nauman, Dan Graham and Bill Viola, the paintings of Manet and David Reed as well as installation art from the work of Robert Smithson and Donald Judd to Roni Horn and Rudolf Stingel. Given Time will address time in various productions as a tool, as mechanics, and as subject.

Course number: ART-375
Prerequisite: Take FAR-101/ART-101, Re-Thinking Art

Historical Abyss

The Historical Abyss - Daniel Small History is always being imaginatively figured as it is seemingly figured out. This course will proceed from the notion that history is not written from the certitude of concrete facts, but rather in the productive unreliability of lived and invested memories, myths, ideologies, stories, and dreams. It will also seek to recognize that these errors, myths, and confabulations lead us through and beyond facts to their meanings and that the dubious reliability of such wrong tales enhance their historical value in that they allow us to recognize the objectives of the tellers and the intentions and desires behind them. Topics of discussion include: art forgeries, abandoned film sets, theme parks, and casino designs. Through a triangulation of past, present, and possible future, the synthesis of these sites and objects will be examined for potentially constituting more authentic versions of the histories they seemingly approximate. The course will take on a myriad of forms, including lectures and discussions with diverse specialists, for example FBI Agents, Curators, and Artists.

Course number: ART-343
Prerequisite: n/a

Image & Consequence


This course will provide a platform for students who are looking to develop, expand, or hope to locate a critical conversation that links image discourse to systemic societal issues within their studio practice. Course activities includes lectures, group research projects, student led discussions, field trips, and adaptive studio projects followed by critiques. "We currently live in an era of declaration - US vs. THEM mentality. Our information media platforms are getting less polite, and societies' image of cultural correctness is being challenged and redefined through dominant and subdominant media sources. As people's inherited and informed opinions manifest into media-based experiences, these gestures are systemically affecting how people consequentially and psychologically experience the world - especially when opposing value systems collide. Through research and studio projects, this course will provide a platform for students to develop a critical conversation around societal issues that links the image to the human experience as separate and connected, foreground and background, or compassionately as positive and negative forces that shapes the self in relation to others."

Course number: ART-363
Prerequisite: n/a

Installation 1


This class investigates everything outside the gallery, starting with the history of landscape painting. The relationship of site to the viewer is examined with regards to gardens, earthworks and performance. Issues of context and collaboration are explored through a curated show of site specific works.

Course number: ART-231
Prerequisite: Take ART-101, Re-thinking Art

Intro to Printmaking


This course introduces students to monoprint techniques, including wood block carving and printing, line egching, drypoint, and aquatint. High standards of craftsmanship, drawing, and the fundamentals of specific techniques are emphasized.

Course number: ART-251
Prerequisite: n/a

Investigative Aesthetics


Investigative Aesthetics addresses various practices at the intersection of contemporary art and investigative journalism. Based on the tenets of the independent research agency Forensic Architecture based at Goldsmiths University of London the course will seek to move beyond contouring or critiquing histories from a distance and aim to come up with strategies that intervene and produce evidence that result in new kinds of information and knowledge. Forensic Architecture consists of a multidisciplinary team that employ counter forensics that turn the forensic gaze onto investigations of state agencies and dominant narratives. Their evidence is presented in political and legal forums, truth commissions, courts, and human rights reports, and we will focus on using this model as a means to investigate issues that are usually discussed in contemporary art practice, but rarely addressed with this intensity or rigor. Collectively we will seek to find working methodologies for engaging and addressing the complexities of local and international crisis related to human rights and ecocide and will focus on how to intervene and take a stake in historical outcomes that are being sorted out in the present. The class will also consider how the evidence gathered in this investigative practice can have a hybridized function as art objects by finding new contexts and ways in which they can be considered. The architecture of memory will be of specific importance and the collection and dissemination of oral histories, first-hand witness testimony, and material witness analysis will help to provide starting points for further investigation in student-initiated investigations. Some practices we will consider are individuals that are redefining what research-based art could entail and who are working through direct engagement with their subjects such as: Lawrence Abu Hamdan, Susan Schuppli, Hiwa K, Gala Porras Kim, Jill Magid, Sidsel Meineche Hansen, Shadi Habib Allah, Renee Green, Taryn Simon, Pierre Huyghe, and Sean Raspet. Research through field work and investigatory studio practice will proceed after initial critiques to assess and address issues interwoven into student work. Discussions will be tailored to efforts that give an overview of organizations, funding, media partnerships, and other meaningful connections that will be crucial in carrying out research and implementation on a case basis. The final will consist of a presentation that could be the exhibition of research, evidence, art works, performances, or a combination thereof, but could also consist of off-site works or collaborations whether with other students in the class, local or international organizations, or individuals yet to be identified. Highly recommended for Upper Term students.

Course number: ART-288
Prerequisite: n/a

Like: A Competition

What does it mean to "like" something? Like is a ubiquitously, bandied about word in contemporary society: it's declarative, democratic and an extremely safe way to express an opinion. We often share our aesthetic interests by publicly saying what we like. This Trans-Disiplinary Studio, "like," will address personal and cultural formations of taste, beauty and preferences. In "like," we will look at strategies for describing the creative process in a world of subjective preference. As a discussion and project-based course "like" will deal with a variety of subjects from music and visual culture, transitional visual-historical moments in art that signal aesthetic shifts in societal thinking. Like is a project-based discussion studio class. There will be also be seminar discussions and three main projects.

Course number: TDS-368
Prerequisite: n/a

Like: a Competition

What does it mean to "like" something? 'Like' is a ubiquitous, bandied-about word in contemporary society: it's usually a declarative, democratic, and safe way to express an opinion. We often share our aesthetic interests by publicly saying what we like. In an attempt to up-the-ante and make us more committed to the things we like, this course will give us tools to defend our own pleasures, desires, and fantasies, and to make what we like have consequences. We'll think of art and design as a competition --- not just a job, success or money --- but for the hears and minds of audiences. "LIKE: a competition" will address personal and cultural formations of taste and beauty and will look at strategies for describing the creative process in a world of subjective preference. We will deal with a variety of subjects, including the correlation between music and visual culture and the visual-historical moments in art that signal aesthetic shifts in societal thinking. We will examine the history of political and artistic manifestos as fundamental ways in which people transform their theories into action. Students will critically examine the apogees and pitfalls of political theory and aesthetic dogma, and maybe have the opportunity to write an aesthetic manifesto of their own. This is a transdisciplinary discussion and project-based course that attempts to place the humanities deep within art and design practices. It questions the distinction of theory from practice and thinking from doing. As such, participants will receive both studio and academic credit. (3 units of H&S Critical Thinking)

Course number: HCRT-368
Prerequisite: Take TDS-368

Materials of Art & Design

This foundation level class is dedicated to enhancing the student's understanding of the inherent characteristics of a variety of materials in order to explore their best applications for art or design projects. For this reason, assignments are experimental in an effort to discover innovative solutions to the development of form, structure and texture. Materials may include wood, plastics, plaster, metal and paper. Students broaden their understanding of creative problem-solving, originality, and analysis of visual information. Material covered includes the safe operation of woodworking and some metal-working machines, as well as techniques of mold-making, and material safety.

Course number: ART-158
Prerequisite: Take FND/INT-102 Design 1 or INT-103

New Media Arts

This course examines the relationship of art to new digital media. Various aspects of new media such as the world wide web will be used to research and generate artist projects. Topics such as interactivity, digital sculpture, and time based arts will be explored.

Course number: ART-287
Prerequisite: n/a

Occupy the Monitors

Occupy the Monitors All over campus, flat screen monitors silently stream useful information-upcoming events, student award-winners, CSE activities and the like-more than a dozen networked monitors all doing what they were designed to do: communicate event information. In this course, we will use these monitors as a venue for exhibiting original works and calling attention to things we care about. Solo and collaborative projects, as digital stills and silent videos, will be screened on these school monitors throughout the term. Some projects will in inserted among the usual flow, while others will take over the monitors completely for a day or more. Class time will be split between the production, exhibition and critique of original student work and the exploration of historical precedents relevant to our project, exploring practices that "occupy" sites not normally intended for an encounter with art, disrupt the dominant visual economy, or meet their audience in a range of unexpected places, from inside a gallerist's ear to outside the earth's atmosphere.

Course number: ART-272
Prerequisite: n/a

One on One (Upper Division)

Three upper division Fine Art faculty members conduct individual meetings with each student, a minimum of three times during the term. Effectively, students will meet once per week with a different faculty member to discuss the production and development of personal Fine Art projects. See Department Chair for details.

Course number: ART-405
Prerequisite: Take ART-305, One on One C

One on One A


In order to address our students educational and creative needs, we have revamped One on One by assigning all lower term Fine Art students to core faculty advisors to meet four times (for thirty minutes each) a term to discuss issues ranging from curriculum development to their educational experience. One on One should is required and should be taken terms one (105), two (205), and three (305). Students can select a single core faculty member with whom they want to meet. The faculty will be responsible for monitoring your progress through the fine art program. Individual meeting will be arranged between the student and faculty.

Course number: ART-105
Prerequisite: n/a

One on One B


In order to address our students educational and creative needs, we have revamped One on One by assigning all lower term Fine Art students to core faculty advisors to meet four times (for thirty minutes each) a term to discuss issues ranging from curriculum development to their educational experience. One on One should is required and should be taken terms one (105), two (205), and three (305). Students can select a single core faculty member with whom they want to meet. The faculty will be responsible for monitoring your progress through the fine art program. Individual meeting will be arranged between the student and faculty.

Course number: ART-205
Prerequisite: Take ART-105, One on One A

One on One C


In order to address our students educational and creative needs, we have revamped One on One by assigning all lower term Fine Art students to core faculty advisors to meet four times (for thirty minutes each) a term to discuss issues ranging from curriculum development to their educational experience. One on One should is required and should be taken terms one (105), two (205), and three (305). Students can select a single core faculty member with whom they want to meet. The faculty will be responsible for monitoring your progress through the fine art program. Individual meeting will be arranged between the student and faculty.

Course number: ART-305
Prerequisite: Take ART-205, One on One B

Open Crit


Open Crit class provides students with an opportunity for more in-depth discussion about their work in a group critique environment. Open Crit is open to all students working in all mediums and media. The dynamics of Open Crit is unique, because it will be coordinated by a Fine Art Graduate student and Undergraduate Eighth-Term Fine Art student, offering a peer-to-peer evaluation and discussion about current student work across all terms.

Course number: ART-353
Prerequisite: Take ART-101, Re-Thinking Art

Painting 1


This introductory class provides a rigorous introduction to both technical and formal problems in painting. Emphasis is placed on understanding the fundamentals of the painter's craft through a range of available materials; including pigments and paints, structures, surfaces and grounds, brushes and tools, varnishes and preservation strategies. Students will have the opportunity to explore a variety of mediums. Subject matter is explored through traditional painting genres of still life, landscape, figure and portrait, symbol and allegory.

Course number: ART-111
Prerequisite: Take ART-171, Drawing 1



What is painting now? This course examines opportunities for painting inthe 21st Century - looking at how artists make work now. With a focus on acrylic paint, this class offers a comprehensive understanding of both traditional and contemporary methods and materials used in painting. It provides a basic knowledge of application tools and brushes, preparation of grounds and surfaces, color and pigments, painting mediums and preservation strategies.Through an examination of both the process and effects of painting, including demonstrations and exercises, students learn to how to analyze and execute various painting techniques while developing an awareness of contemporary painting strategies.

Course number: ART-261
Prerequisite: n/a

Passion for Painting

A notable visiting artist will individually work with students in the development of their own unique visual language. This class can accommodate students from a variety of skill levels as long as they are committed to learning how to paint and are open to critiques addressing all aspect of painting including subject matter and content, formalism and history. Passion for Painting is a working studio class.

Course number: ART-161
Prerequisite: Take FAR-304/ART-111, Painting Strategies



Performance: This class gives students an opportunity to build on basic performance skills. Two different artists, both active in the field of performance art, teach the class for seven weeks each. They approach the class with the idea of communicating from their own perspective as working artists, giving the students a chance to understand the practice from two different points of view. The faculty can do this with a variety of tools, among them readings, projects, collaborations, field trips, lectures, as well as leading crits and offering feedback on student work. Open to ACAN.

Course number: ART-320
Prerequisite: n/a

Photography 1

Photo One is structured for students who come from various making backgrounds (e.g., photography, drawing, painting, sculpture, video, performance, etc.), and seek to expand their conceptual understanding of creating image-based experiences through the practice of photography. Throughout this course, students will work through the entire digital imaging process; which includes camera operations, digital capture, post-production, and digital output. Studio projects will challenge concepts and ideas from assigned readings and class discussions. At the close of each studio project, critique sessions will be utilized to critically engage the process of interpreting image-based language into spoken meaning.

Course number: ART-274
Prerequisite: Take ART-101, Re-Thinking Art Take ART-274L, Photgragraphy 1 Lab concurrently

Photography 1 Lab

Photography 1 Lab: This three-hour lab is a co-requisite for the Photography 1 class, which follows the Photography 1 [ART-274] class.

Course number: ART-274L
Prerequisite: Take ART-101, Re-Thinking Art Take ART-274, Photography 1 concurrently

Post Re-Thinking Art


Post Rethinking Art is a studio-seminar for advanced undergraduate students working in all mediums. The purpose of the class is to provide ample studio time for students to develop their individual studio projects in an open studio/seminar environment under faculty guidance. The studio aspect of the class will be enhanced by intensive weekly group critiques of new work or works-in-progress.

Course number: ART-401
Prerequisite: Take ART-300, 5th Term Review

Post Studio

Post-Studio Art is a combination seminar and workshop course that explores art's increasingly self-conscious exploration of context and audience since 1950, with an emphasis on the evolving role and relevance of the art studio. The course will pair readings, discussions, video screenings and slide talks with project assignments and group critiques. It will emphasize ideas and tactics over skills and techniques. The goals of the class are fluency with generating ideas, comfort with a number of different approaches to art-making, an enhanced consideration of the experience of the viewer, and greater understanding and self-reflexivity vis-a-vis the physical, social, historical, political, and philosophical contexts we produce art in, and for.

Course number: ART-301
Prerequisite: Take ART-204, Art: Structures and Systems

Pretty Hurts

Pretty Hurts. Beyonce is the contemporary heroine of feminism but sings about domestic violence with her pimp husband. How do you contextualize yourself as an artist in a world where definitions and boundaries are so easily manipulated, where everything means nothing and nothing means anything? Through the lens of feminism, students will critique contemporary culture and understand their proximity to the past in their present. Students will suspend the slippage of terms in order to definitively describe their own work in the context of contemporary art. All of the assignments in this course will be geared towards a reanalysis of students' work in their preferred discipline. Progressively, each assignment will deconstruct and reconstruct work in an aggressive effort to define and redefine students' visual language and formal decisions. What does it mean to make work that is too "pretty"? How do you call yourself a feminist today if the Beyonces of the world are hijacking the word? Does pretty hurt?

Course number: ART-257
Prerequisite: ART-101 Re-Thinking Art



This course introduces the basics of lithography and photographic printing processes. Manipulation of inks, media, types of print papers, and technical mastery are emphasized.

Course number: ART-252
Prerequisite: n/a

Re-Thinking Art


This course expands student awareness of contempory art activity through a selective examination of modern and post-modern values. Related projects explore critical issues in diverse mediums.

Course number: ART-101
Prerequisite: n/a

Re-Thinking Drawing

Finding ones true nature, the location of the self, requires the skill of reinvention. The art of Drawing from this uniquely interior space is to recognize and engage in the complexity of endlessly moving targets that typically evade and confound us. Learning to reinvent the process and the way we think about drawing, coupled with a focused practice, has the potential of capturing a surprising and satisfying result. Among other things, one must learn to value vulnerability over facility. This action inevitably generates an environment of risk as it runs contrary to popular notions about what makes "good" art. When at last facility and skill return in ones practice, the true quality of the work is redoubled. Several approaches to this way of "making" will be explored in order to reach the desired goal. This course consists of lectures and visual presentations, demonstrations, and one on one meetings. Students will be expected to work in and out of class. As much group critique time as possible will be given to each student.

Course number: ART-102
Prerequisite: n/a


REALISMS: Representational Strategies in Contemporary Painting The course will examine the historical trajectory of Realism in painting as a political form. Taking as its starting point Linda Nochlin's 1973 essay The Realist Criminal and Abstract Law, our research will follow the historically intellectualized and politicized opposition between Realism and Anti-realism. Through a selection of readings we will investigate a plurality of stylistic strategies (Realisms), from primitivism, surrealism, social realism, cubism, and hyper-realism, that align visually disparate languages of representation as discursive working models of opposition. The studio aspect will unfold through projects that will address the meta-tropes of Realist painting - Still-Life, Figure, and Landscape - through the lens of criticality. Students will be asked to make works that claim a point of view that aligns their personal artistic relationship with Realism and Representation within the parameters and goals of the above formats. Supplemental discussions and lectures on artists, techniques, and processes, will assist in contextualizing relevant contemporary practices that use historical genre, representation, and Realism to address relevant current topics, social issues, and identitie

Course number: ART-313
Prerequisite: Take FAR-101/ART-101, Re-Thinking Art



Sci-Fi is a TDS that will explore the cultural manifestations of Science Fiction. Utopias, distopias, aliens, galactic colonization, time travel, alternate realities: imagining the future has everything to do with the present. We will read, write, talk, watch films and make art about this.

Course number: TDS-383
Prerequisite: n/a

Sculpture 1


Sculpture 1 is an introductory sculpture class is comprised from a selection of diverse concepts, materials and processes that are associated with the subject of contemporary sculpture. This class is for the student who wishes to explore other methods of art production and to expand their conceptual development, as well as technical skills, and awareness of contemporary sculpture. We will discuss a wide range of ideas that pertain to sculpture, its history and status as: object, materials, process, craft, space, the temporal, and the experiential. You will be required to complete projects along with several homework assignments. The materials and processes we will focus on are: wood, steel, plaster, sheet metal, and plexi-glass. Other materials such as fiberglass, clay, fabric, found objects, etc. and other media are also available for any of the projects. Each project will be guided in regard to the required materials (wood, steel, plastic) but will allow for an expanded application of craft, spatial exploration, and conceptual issues. The idea of this class is to engage you with the subject of sculpture for the entire term and to use the full range of facilities that are available here at Art Center. Think of the College shops and labs as your workspaces and as an extension of this classroom. The shops are staffed with highly skilled technicians who are available to assist you with the technical aspects of your projects. The class discussions will play a crucial role in contextualizing the students' projects.

Course number: ART-162
Prerequisite: ART-101, Re-Thinking Art

Sculpture Society Express

"Sculpture Society Express" is an advanced sculpture class that will look at sculptural and object-making practices, processes, approaches and techniques. This class is taught by two Los Angeles sculptors, teaching for seven weeks each, from two different approaches. This split dynamic offers students the opportunity to get diverse opinions and critiques on the work produced in class. This studio is a project-based class. This class offers students an opportunity to work with two artists whose main practice is sculpture and to explore that medium from a varied range of experiences. Each artist will bring to the class their own approach, both as practicing artist and as a teacher, using lectures, field trips, in-class projects and critiques, among many other possibilities, to give students a view into contemporary sculpture and insight into their own work.

Course number: ART-312
Prerequisite: Take ART-101, Re-Thinking Art

Second Nature

Untamed, artificial, nurturing, destructive, endangered. How we see nature is always framed by culture; at some distance, as second nature to ourselves. This TDS examines all cultural representations of nature: the history of painted landscapes, photography, cinema, video art, design including architecture, and poetry and literature. The physical form of landscape will be considered as well, especially when it is culturally manipulated, as we find in gardens, earth works and sculpture. We will go on field trips to study the local landscape, as a source of history and inspiration. The environment, economics, race, gender and sexuality will provide multiple lenses through which we view the horizon. We will additionally consider our own "wildness," however that may manifest. This class is a five hour studio TDS with an embedded H&S component. We will have lectures, seminar discussions, screenings, field trips and class critiques of student work. All departments and disciplines are accepted. Projects can be in any media. Participants will produce art or design projects for the class, including a midterm, a class exhibition, and a final. There will be readings for each topic, and short papers directed towards opening up discussions. Active participation in all class discussions is a substantial requirement towards the overall grade.

Course number: TDS-320
Prerequisite: n/a

Senior Projects 1


This is a the first class in a two-term course series that culminates the experience of the fine art major, and addresses relevant issues in preparation for a life in art after graduation. Seventh term students participate in group shows which they curate themselves.

Course number: ART-451
Prerequisite: Take ART-401, Post Re-Thinking Art

Senior Projects 2


This is the second class in a two-term course series that culminates the experience of the fine art major, and addresses relevant issues in preparation for a life in art after graduation. Graduating students develop a cohesive body of individual work for their senior exhibition in the undergraduate gallery.

Course number: ART-452
Prerequisite: Take ART-451, Senior Projects 1

Social Practice 1


Social Practice 1 will look at the history and approaches artists are developing in using the real world as an expressive and ideological medium. The engagement in stories, conversations, and histories is how we make sense, how we remember, articulate/re-articulate, our experiences, memories, and fantasies. By talking with, collecting, recording, and engaging with others in the community, we become agents of change and transformation. In this class we will develop and work on projects that help us understand the roles of social narratives. We will also discuss films, video art, and contemporary film and art theory that explore the relationship of the self to the Other and embody a spirit of resistance. Radical forms will be used to investigate roles of gender, multi-culturism as well as positions of difference, opposition and empathy. Social Practice 1 is a fine art studio class.

Course number: ART-242
Prerequisite: Take ART-101, Re-Thinking Art

Socially Engaged Art


Socially Engaged Art is a class that will provide a more focused and committed look at socially engaged art as a discipline by participating in collaboration with ECF artists. ACCD is fortunate to have the opportunity to work with the adult artists that are clients at ECF to produce an art project reflecting their interests and understanding of their gender and sexuality using video, sound or performance. The artists that come to the ECF art center are developmentally challenged and many have lived under the structure of institutional care and structure most of their life. Art Center students will be matched with an individual artist and get to know them at their art center in Downtown Los Angeles. After meetings and even a field trip of your choice, financial support is provided from the Pickford foundation to the Art Center student to produce a project and participate in production of support materials in dialog with their ECF artist for exhibition at their gallery. The actual process of collaboration is one we will study and research as it is pivotal to the field of social practice. The finished product and its aesthetic is up to the Art Center student to determine in this process. All these concerns will be in conversation with the variety of community based collaborative structures and ethics that we learn about in class. Through reading, writing about and looking closely at other projects in the world, and finally through practice, we will discuss and understand our role in socially engaged art at this socio/political time in this class. A preliminary visit to ECF to be arranged by faculty and/or attendance in Social Practice1 is a prerequisite for this class. Participation in the ECF exhibition, and production of material for their website and publication is a requirement.

Course number: TDS-349
Prerequisite: n/a



Sound is a Fine Art studio course focusing on the subject of sound and its relationship to Fine Art practices including the gallery and public arts. The course will expose students to a brief survey of the sonic history, technological advancements, related discourse, and current practices that artists have developed to incorporate sound as a Fine Art practice. Class time includes hands on practices in the sound lab, working with sound in all capacities, such as records, CD, mp3, cassettes, live performance, as well as an introduction to the ways in which sound can be recorded, edited, and manipulated digitally. Course presentations include demonstrating how the use of sound has been incorporated with other practices such as sculpture, performance, social practice, and installation.

Course number: ART-281
Prerequisite: n/a

Studio 7:

Each section will have a unique description.

Course number: SAP-826
Prerequisite: n/a

Studio Practice


This course examines current issues in contemporary art making at the end of the millennium. By working on assigned projects outside of class, students will develop an understanding of the connection between ideas that are at work in contemporary art and their own studio practice.

Course number: ART-202
Prerequisite: Take FAR-101/ART-101, Rethinking Art 1

Studio Visits

Working artists in and around Los Angeles open their studios and allow students to witness the activity of art fabrication while engaging in critical dialogue about the content of the work.

Course number: ART-325
Prerequisite: ART-204/FAR-204 Art: Structure and Systems

TDS Art Matters

The Art Matters trans-disciplinary studio recognizes the role of activist art endeavors that confront a range of social, environmental and political issues that can employ diverse art practices, including mass-media communication strategies, to promote dialogue and reflection: sometimes sounding alarms and calling for change. The course seeks to reinvent the space and expand the audience for art in the public sphere, as well as its place in the world beyond aesthetics and commerce. This class is structured as a TDS (studio and history design science). The class is a 6 unit class with two components that are co-requisite. The class meets for 8 hours with a break for lunch.

Course number: TDS-360
Prerequisite: Take TDS-360H

TDS: Garden as Site

TDS: Garden as Site: Intersections of nature and culture in public space In this class we will explore the connections between art and gardens, between the cultivated and the wild. As a context for creative production, the garden is an alternative to the gallery, an open and varied framework that engages in different and challenging ways. We will look carefully at the many manifestations of garden and horticulture that have entered current cultural discourse, looking at contemporary art, artists, and designers who engage the garden and cultivation as a response to climate change, the politics of food and power, issues of public and private, the economy of art production, and the gallery system.

Course number: TDS-374
Prerequisite: n/a

TDS: Narrative

Each "section" will have a unique description under "additional info"

Course number: TDS-341
Prerequisite: n/a

TDS: Portrait Reconsidered

We make portraits all the time: Loved ones, animals, famous people, people who fascinate us, ourselves, our pets. It could be argued that all of one's work is on some level a self-portrait. We see them everywhere: Book jackets, you-tube, museums, galleries, bill-boards, on our phones, hanging on the walls of our homes. Despite their ever-presence, we still respond to portraits. Their meaningfulness to us, how they connect, the malleability of the genre, has kept the form vital to the most avant-garde of artists and your Aunt Sally. In this class we will consider the form of the portrait: its history, what it means to us and to culture in the past and the present. We will consider the portrait in every possible formation, across all mediums (including literature and film,) developing our ability to make and consider the portrait in context. Course work consists of two major projects (mid-term and final,) field trips, readings, and some short writing assignments.

Course number: TDS-364
Prerequisite: FAR-101 Rethinking Art 1 FAR-204 Art: Structure and Systems

TDS: Sex

TDS: SEX explores sex as a powerful engine in art and culture, examining the construction of human sexuality, identity and gender; through the social, political and technological environments we live in. Topics include sex in art history, sex and capitalism, sex and censorship, pornography and social media, feminism and gender politics, and sex and the post-human. This course questions, creates, and generate discussions and projects that delve in to the direct and indirect language of sex, challenging us to confront how arresting, demented, theatrical and absurd it is now and in our near futures.

Course number: TDS-329
Prerequisite: n/a

TDS:Painting in New York

This 14-week class includes a week in New York City with tours of the city's incomparable museums - The Metropolitan Museum, Museum of Modern Art, Frick, Niue Galleries, Whitney Museum of American Art, Guggenheim, and galleries in Chelsea area. The class size is limited.

Course number: TDS-348
Prerequisite: n/a

The Art of Things

How can the materials that construct an artwork support our goals for its content? This question will be put to task in this class, which asks students to align materials and their meanings socially, historically and through metaphor and symbolism. As a staring point this course will act as an introduction to the ideas of Structuralism, its roots in Modernism, and examine ways to expand on the movement's strategies and models of representation. In doing so we will explore ways to align and appropriate historical tactics to make works dealing with contemporary issues, with a focus on identity, and politics. Through a series of projects, students will gain insight into the possibilities of using structuralist methodologies beginning with using only the constituent materials of painting -the support, canvas, and paint- and expanding toward more non-traditional materials. Experiments with additive, subtractive, and negational approaches to constructing paintings will consider the form as both object and image. Supplemental discussions and lectures on artists, techniques, and processes, will assist in contextualizing relevant contemporary practices that use this historical movement to address relevant current topics,social issues, and identities.

Course number: ART-316
Prerequisite: n/a

Third Term Review

This review, between Core faculty and student, is the first departmental gateway review, which measures a students' progress in the program. This review is an opportunity for the student to get feedback about their work, share how they are doing in the college and to assess where they developmentally stand in the program. The department views the review process as fundamental to a students' development and helps identity both strengths and weakness as a student matriculates through the program. Students will have two independent meetings (90 minutes each) with the faculty to review and assess their work. Students are required to show samples of current work, which can be original, physical work or electronic files. Students should have a minimum of 36 completed unit. This is a required zero credit, no cost course. 06/2015

Course number: ART-200
Prerequisite: Take ART-101, Re-Thinking Art

Tool Kit: Places/Sitns/Ecol

Course number: ART-236
Prerequisite: n/a

Tool Kit:Stories/Cnvrstns/His

The engagement in stories, conversations, and histories is how we make sense, how we remember, think/re-think, articulate/re-articulate, our experiences, memories, and fantasies. Investigating how those are constructed and shared provide critical insights into psycho-social-cultural-political process of being-in-the-world with others (people, things, places). By talking with, collecting, recording, and engaging with each others in the community, we become agents of change and transformation. In this course, we develop and work on projects that help us understand the roles of social narratives. We will also discuss films, video art, and contemporary film and art theory that explore the relationship of the self to the Other and embody a spirit of resistance. Radical forms will be used to communicate radical content and we will go into deep investigations of gender, culture and their politics as well as positions of difference, opposition and empathy. You will create a short film, a collection of sound-effects, an artist manifesto and a final project. You can adapt the final project to your own medium.

Course number: ART-286
Prerequisite: Take ART-204/FAR-204, Art: Structure & Systems

Undergraduate/Graduate Seminar


The Undergraduate/Graduate Art Seminar offers advanced Fine Art degree students an opportunity to participate in the AGA-554 Graduate Art seminar. Enrollment is granted by petition through the Fine Art Undergraduate Chair. "AGA-554 "Graduate Art Seminar". This course is a visiting lecture series held weekly in the evening in conjunction with the Graduate Fine Art program. Guests include internationally recognized artists, critics, art historians, architects, filmmakers, writers from Los Angles and around the globe." Students enrolled in this class will be required to attend all lectures plus have strong reading and writing skills.

Course number: ART-454
Prerequisite: Take FAR-402/ART-451, Senior Projects 1

Video 1


Video 1 is a creative and critical exploration into the moving image in art and culture. As an introductory course, students learn basic skills of shooting and editing as well as the physical and structural elements in the development and construction of moving image projects. Students build their understanding of contemporary video by investigating historical precedences in film, art and culture, as well as delving into socio-political content, and inter-subjective relations at play in moving image works. Students expand their creative practice through the exploration and production of three video-based projects over the term.

Course number: ART-271
Prerequisite: Take ART-171, Drawing 1

Visiting Artist Program


Visiting Artist Program provides our students the opportunity to access new perspectives and new information by granting them adjacency to different points-of-view through visiting artist lectures and studio visits. Visiting Artist Program is required once, but may be taken a second time as an elective, allowing students to have multiple opportunities to work with outside artists.

Course number: ART-221
Prerequisite: n/a

Visiting Artist Workshop


Intermediate and upper term workshop, taught by a different Visiting Artist each term, focusing on art issues that have fueled each artist's respective studio practice. Martin Kersels, Liz Larner, Jason Rhodes, Lyle Ashton Harris, Jennifer Pastor, Richard Hawkins, Toba Khedoori, Sam Durant, Amy Adler and Jim Shaw are recent visiting artists. Topics have included: autobiography and representation - constructions of the self; enigmas of race; the art of autobiography and lying; the body as metaphor; form and context.

Course number: ART-351
Prerequisite: Take FAR-101/ART-101, Re-Thinking Art

Wet Paint


In the course, Wet Paint: Painting is painting, and there's no other art medium that maintains such a significant, yet ambiguous place in visual culture and human history. This course will investigate contemporary practices and current approaches to the art of painting locally, nationally, and globally, with an emphasis on examining work formally, philosophically, and from an historical viewpoint. Students will be responsible for developing their own body of work, preparing presentations, and participating in group critiques and discussions. There also will be weekly reading assignments and exercises to complete. Throughout, an attempt will be made to integrate studio practice and academic thinking into a composite whole. Wet Paint is a class taught jointly with Fine Art and Illustration faculty.

Course number: ART-112
Prerequisite: Take ART-101, Re-Thinking Art OR ILL-153, Composition and Painting

Wet Paint TDS

What's the significance of painting as an art? We'll begin by discussing it as a triangulated force-field: One corner comprises the intentions of the artist who creates the painting; a second comprises the expectations of the beholder who views the painting; and a third comprises the unique demands of paint itself. These three vertices are connected by a long history of painterly practice, punctuated by theoretical attempts to understand, promote, and exploit both painting and its practitioners. We'll explore these powerful connections in an attempt to discover the center (or centers) of the painting-triangle. Special emphasis will be placed on the state of painting today. Expect a substantial amount of academic homework. Students will be asked to read texts each week, write responses to what they read, integrate their thinking with their practice-and, above all, get wet. This Humanities & Sciences course is an integrated co-requisite to the Studio Wet Paint TDS. CO-REQUISITE: TDS-342

Course number: HCRT-342
Prerequisite: Take TDS-342 Must have taken: HMN-100/HWRI-102 Writing Studio, or HMN-101/HWRI-101 Writing Studio Intensive, or Pass the Writing Placement Exam

Wild Nuns

Wild Nuns: Advanced Moving Image with Laida Lertxundi This is an advanced moving image production course for artists, focusing on narrative alternatives to the Hollywood story telling model. We will utilize fiction as an open space for experimentation, viewing a number of films and reading modernist and postmodernist hispanic fictions that employ intricate narrative structures. For example: the subject of wild nuns in the work of Mexican writer Rosario Castellanos, and in Almodovar's early film EntreTinieblas (Dark Habits) will be explored. Through these imaginative and experimental works we will delve into ideas of unresolved plots, character and empathy. Instruction will include hands on work in cinematography, lighting, sound recording and video editing to create three moving image works that result in films, videos, installations or sound projects. Students can shoot on celluloid film, or in any format of video.

Course number: ART-275
Prerequisite: n/a