* ART 1942a or b / FILM 1620a or b, Introductory Documentary Filmmaking  Staff

The art and craft of documentary filmmaking. Basic technological and creative tools for capturing and editing moving images. The processes of research, planning, interviewing, writing, and gathering of visual elements to tell a compelling story with integrity and responsibility toward the subject. The creation of nonfiction narratives. Issues include creative discipline, ethical questions, space, the recreation of time, and how to represent "the truth."  RP
HTBA

ART 1985a, Principles of Animation  Ben Hagari

The physics of movement in animated moving-image production. Focus on historical and theoretical developments in animation of the twentieth and twenty-first centuries as frameworks for the production of animated film and visual art. Classical animation and digital stop-motion; fundamental principles of animation and their relation to traditional and digital technologies.  RP
M 1:30pm-5:20pm

* ART 2941a / FILM 1610a, Introductory Film Writing and Directing  Sahraa Karimi

Problems and aesthetics of film studied in practice as well as in theory. In addition to exploring movement, image, montage, point of view, and narrative structure, students photograph and edit their own short videotapes. Emphasis on the writing and production of short dramatic scenes. Priority to majors in Art and in Film & Media Studies.  RP
T 1:30pm-5:20pm

ART 2943a / FILM 2940a, Cinematography: History, Theory, Practice  Jonathan Andrews

This course serves to introduce students to the artistic practice of cinematography in the context of its history from the birth of cinema to the present. Readings, screenings, and discussions exploring film history are complemented by readings, workshops, and creative assignments exploring the tools, techniques, conventions, and scientific and psychological foundations of the cinematographer’s art.
T 1:30pm-5:20pm

* ART 2984b, Technology and the Promise of Transformation  Sarah Oppenheimer

Inherent transformative qualities are embedded within technology; it transforms our lives, the way we perceive or make art, and conversely, art can reflect on these transformations. Students explore the implementation of technologies in their art making from pneumatic kinetics, bioengineering, AR, VR, and works assisted by artificial intelligence—modes of production that carry movement, degradation, and displacement of authorship. The student practice is supported by readings, independent research, and essays on diverse artists and designers who make use of technology in their work or, on the contrary, totally avoid it. This course is a curricular collaboration with The Center for Collaborative Arts and Media at Yale (CCAM).
Th 8:25am-12:20pm

* ART 2985b, Digital Animation  Michael Rader

Introduction to the principles, history, and practice of animation in visual art and film. Historical and theoretical developments in twentieth- and twenty-first-century animation used as a framework for making digital animation. Production focuses on digital stop-motion and compositing, as well as 2-D and 3-D computer-generated animation. Workshops in relevant software. Prerequisites: ART 1111, 1514, or 1745, and familiarity with Macintosh-based platforms.
M 1:30pm-5:20pm

ART 3155a, Cave Paintings to Graffiti: History of Mural Painting  Kymberly Pinder

Murals have communicated religious, political and personal messages to communities for millennia. Muralists take risks when they commit to an art practice that is outside the museum or gallery. They must negotiate both multiple, unpredictable publics, their own privacy, and the socio-political ‘publicness’ of their work. Community-engaged artmaking provokes, mobilizes, and forever alters the spaces and audiences it encounters. Course topics include Michelangelo’s Sistine Chapel, Mexican muralists and revolution, civic mural movements in the U.S., graffiti as a global phenomenon, and murals in the region, such as New Haven and New York City. This course includes art history through practice, creating a more integrated way of learning the history of mural making, from prehistory to the present, by collectively painting a mural in the Peabody Museum. Working with a local muralist, students learn how to navigate the process of creating a mural, from the proposal to the budget to the community programming and the execution. There are no artistic skills required.  HU
W 1:30pm-5:20pm

ART 3941b / FILM 3550b, Intermediate Film Writing and Directing  Jonathan Andrews

In the first half of the term, students write three-scene short films and learn the tools and techniques of staging, lighting, and capturing and editing the dramatic scene. In the second half of the term, students work collaboratively to produce their films. Focus on using the tools of cinema to tell meaningful dramatic stories. Priority to majors in Art and in Film & Media Studies. Prerequisites: ART 2941.  RP
T 1:30pm-5:20pm

ART 3942b / FILM 3560b, Intermediate Documentary Filmmaking  A.L. Steiner

Students explore the storytelling potential of the film medium by making documentaries an art form. The class concentrates on finding and capturing intriguing, complex scenarios in the world and then adapting them to the film form. Questions of truth, objectivity, style, and the filmmaker's ethics are considered by using examples of students' work. Exercises in storytelling principles and screenings of a vast array of films mostly made by independent filmmakers from now to the beginning of the last century. Limited enrollment. Priority to majors in Art and in Film & Media Studies. Prerequisites: ART 1942 or 2941  HU  RP
M 1:30pm-5:20pm

* ART 3995a or b, Junior Seminar  Ayham Ghraowi

Ongoing visual projects addressed in relation to historical and contemporary issues. Readings, slide presentations, critiques by School of Art faculty, and gallery and museum visits. Critiques address all four areas of study in the Art major. Prerequisite: at least four courses in Art.  HU  RP
HTBA

* ART 4171a and ART 4172b, Independent Projects  Alexandria Smith

Independent work that would not ordinarily be accomplished within existing courses, designed by the student in conjunction with a School of Art faculty member. A course proposal must be submitted on the appropriate form for approval by the director of undergraduate studies and the faculty adviser. Expectations of the course include regular meetings, end-of-term critiques, and a graded evaluation.
HTBA

* ART 4942a and ART 4943b / FILM 4830a and FILM 4840b, Advanced Film Writing and Directing  Jonathan Andrews

A yearlong workshop designed primarily for majors in Art and in Film & Media Studies making senior projects. Each student writes and directs a short fiction film. The first term focuses on the screenplay, production schedule, storyboards, casting, budget, and locations. In the second term students rehearse, shoot, edit, and screen the film. Priority to majors in Art and in Film & Media Studies. Prerequisite: ART 3941.
W 8:25am-12:20pm

* ART 4995a, Senior Project I  Alexandria Smith

A project of creative work formulated and executed by the student under the supervision of an adviser designated in accordance with the direction of the student's interest. Proposals for senior projects are submitted on the appropriate form to the School of Art Undergraduate Studies Committee (USC) for review and approval at the end of the term preceding the last resident term. Projects are reviewed and graded by an interdisciplinary faculty committee made up of members of the School of Art faculty. An exhibition of selected work done in the project is expected of each student.   RP
T 1:30pm-3:20pm

* ART 4996b, Senior Project II  Alexandria Smith

A project of creative work formulated and executed by the student under the supervision of an adviser designated in accordance with the direction of the student's interest. Proposals for senior projects are submitted on the appropriate form to the School of Art Undergraduate Studies Committee (USC) for review and approval at the end of the term preceding the last resident term. Projects are reviewed and graded by an interdisciplinary faculty committee made up of members of the School of Art faculty. An exhibition of selected work done in the project is expected of each student. 
T 1:30pm-3:20pm

ART 9149a, Critical & Professional Practices  Staff

This course is required for all first-year graduate students in the School of Art. Students are enrolled in one of four thematic sections in their first term and will receive three credits for satisfactory completion. While all sections focus uniformly on tactile professional skill development, use of University research resources (libraries, museums, centers, other faculty, etc.), and introductions to theoretical and critical studies, they vary in thematic content and are not limited to distinct areas of study. Each inter-departmental section enrolls a blend of students from each area of study in the School. Guest lectures are a part of each section. This course culminates in a collaborative final project with all four sections of Critical Practice.  3 Course cr
HTBA

ART 9413b, Prototype  Sarah Oppenheimer

How do you build a system in real time? How do you design a technical assembly, an automation relay, a machine? This course will challenge students to develop complex systems using design tools that provide responsive feedback during the development process. Over the semester, each student will create a series of iterative prototypes, each exploring a key aspect of a larger project. Students will engage with both analog and digital circuits, sensor-driven networks, and mechanical systems, gaining hands-on experience with the material processes involved. Digital twins and simulations will be explored alongside physical models. Supplemental readings and discussion will review the evolution of prototyping in 20th and 21st century art and design. This course is offered in collaboration with the Center for Engineering Innovation and Design (CEID).  3 Course cr
W 3:30pm-6:30pm

ART 9435b, The Artist as Curator  Marta Kuzma

This course provides an overview of artists who as “curators” have lent or lend to the rethinking of conventional forms of exhibition making. Their artistic investigations constitute artist practice as a field of inquiry that extends beyond the production of objects of various media to interstitial approaches that reflect the artist’s engagement with art history, philosophy, anthropology, politics, activism—the world and universe at large. The Artist as Curator addresses the meta framework for the creation and artist experience in reclaiming research and life practices that are all too often deemed peripheral as to an artist’s process as legitimate to the consideration of the work of art. Since the development of curatorial studies graduate programs (M.A. Curating) in United States and international institutions in the late 1980s, the role of the curator has been professionalized as an external exhibition choreographer, conceptualizer, organizer, and interpreter of the artist’s process. This mediation has privileged this external curatorial voice and yet, it has side-tracked the relationship(s) the artist has to/with a particular set of conditions and communities. that makes art possible. This course encourages students to recognize the wider set of practices they defer to in an effort to convey a picture of what is it to “work” and “think” through one’s practice that recognizes ambivalence, investigation, options, fluctuation, divergence, and the engagement of other fields of knowledge to enrich one’s perspective and vocabulary with respect to practice. The course navigates through historical and contemporary cases and contexts to provide an overview of artists who engage and enlarge communities and audiences in tandem with generating alternative formats for the participatory experience. The course also addresses the changing institutional conditions that, over time, have contributed to the changing ways in which artists intervene as institutional actors/curators. The course takes a deep dive into exhibition through documents, visuals, readings, through artist studio and other location visits. Throughout the course, the students are encouraged to build their own curatorial projects forward for discussion.  3 Course cr
T 10am-1pm

ART 9456b, I’ll Be Your Witness: Toward Collaborative Futures  A.L. Steiner and Matthew Keegan

What happens when an institution turns over its programming to artists and collectives? How can this programming best engage a diverse public, to discuss and debate pressing current events? What leads an institution to reconsider its hierarchical structure? This discussion-driven seminar considers these questions, among others, to determine what are pressing topics that warrant extended and artist-led programmatic inquiry. Based on a direct case study of institutional experimentation, this co-taught class encompasses art history, design and interdisciplinary artmaking. Alterna­­tives are rooted in his/her/hirstorical models, and the sustainability and longevity of artists’ work, interconnected by community, as well as contemporary institutional structures and market forces. This course aims to explore the intersection of collaborative authorship, temporal and bureaucratic parameters, power-sharing and historically-rooted events. We will model collaboration through co-teaching, utilizing readings, site visits, guest speakers and dialogue, culminating in a publicly-shared collective class presentation.  3 Course cr
M 10am-1pm

ART 9475a or b, Interdepartmental Group Critique  Staff

The four departments in the School of Art have critique opportunities for members of their individual areas. In the past faculty members have offered regular extra-curricular interdepartmental critiques on Sunday nights and Wednesday mornings. This course furthers that tradition by critiquing and discussing work by students from each department by those who are not familiar with the concerns, language, or material methods of a medium-specific field. By critique and analysis of each participant’s work, we attempt to break down the boundaries of medium and area. The course is designed for those who are interested in pushing medium orthodoxy aside to clear a space where and the development of language and renewed understandings are possible. Enrolled students exchange studio/desk visits with their classmates outside of class time as well as write about each other’s work. Each week, one shorter critique is offered by lottery to an M.F.A. student at the School of Art not enrolled in the class. This course is co-taught by multiple faculty and visiting critics, with one lead faculty member. Enrollment is limited. Permission of the instructor required.  3 Course cr
HTBA