* ART 1111a or b, Visual Thinking  Staff

An introduction to the language of visual expression, using studio projects to explore the fundamental principles of visual art. Students acquire a working knowledge of visual syntax applicable to the study of art history, popular culture, and art. Projects address all four major concentrations (graphic design, printing/printmaking, photography, and sculpture). No prior drawing experience necessary. Open to all undergraduates. Required for Art majors.  HU  RP
HTBA

* ART 1514a or b, Basic Drawing  Staff

An introduction to drawing, emphasizing articulation of space and pictorial syntax. Class work is based on observational study. Assigned projects address fundamental technical and conceptual problems suggested by historical and recent artistic practice. No prior drawing experience required. Open to all undergraduates. Required for Art majors.  HU
HTBA

* ART 1516a, Color Practice  Sophy Naess

Study of the interactions of color, ranging from fundamental problem solving to individually initiated expression. The collage process is used for most class assignments.  HU  RP
MW 10:30am-12:20pm

* ART 1530a or b, Painting Basics  Staff

A broad formal introduction to basic painting issues, including the study of composition, value, color, and pictorial space. Emphasis on observational study. Course work introduces students to technical and historical issues central to the language of painting. Recommended for non-majors and art majors.  HU  RP
HTBA

* ART 2525b, Adventures in Self-Publishing  Alexander Valentine

This course introduces students to a wide range of directions and legacies within arts publishing, including the development of fanzines, artists’ books, small press comics, exhibition catalogues, “just in time” publications, and social media. Students are given instruction in the Yale School of Art’s Print Shop on various printing and binding methods leading to the production of their own publications both individually and in collaboration. Attention is paid to ways artists’ publishing has been used to bypass traditional cultural and institutional gatekeepers, to foster community and activism, to increase visibility and representation, and to distribute independent ideas and narratives. Students explore the codex as it relates to contemporary concepts of labor, economics, archives, media forms, information technologies, as well as interdisciplinary and social art practices. Supplemental readings and visits to the Haas Arts Library, the Beinecke Rare Book and Manuscript Library, YUAG’s prints and drawings study room, and the Odds and Ends Art Book Fair provide case studies and key examples for consideration. Prerequisite: ART 1111.
MW 10:30am-12:20pm

* ART 2545a, Digital Drawing  Anahita Vossoughi

Digital techniques and concepts as they expand the possibilities of traditional drawing. The structure of the digital image; print, video, and projected media; creative and critical explorations of digital imaging technologies. Historical contexts for contemporary artworks and practices utilizing digital technologies. Group critiques of directed projects. The second half of the course is focused on individual development and exploration. Enrollment limited.
MW 3:30pm-5:20pm

* ART 3531b, Intermediate Painting  Maria De Los Angeles

Further exploration of concepts and techniques in painting, emphasizing the individuation of students’ pictorial language. Various approaches to representational and abstract painting. Studio work is complemented by in-depth discussion of issues in historical and contemporary painting. Prerequisite: ART 1530, 2530, 2531, or permission of instructor.  RP
TTh 10:30am-12:20pm

ART 3532a, Painting Time  Alexandria Smith

Painting techniques paired with conceptual ideas that explore how painting holds time both metaphorically and within the process of creating a work. Use of different Yale locations as subjects for observational on-site paintings. Prerequisite: ART 1530, 2530, or 2531, or with permission of instructor.  HU  RP
Th 1:30pm-5:20pm

* ART 3555a, Silkscreen Printing  Alexander Valentine

Presentation of a range of techniques in silkscreen and photo-silkscreen, from hand-cut stencils to prints using four-color separation. Students create individual projects in a workshop environment. Prerequisite: ART 1514 or equivalent.  HU
TTh 10:30am-12:20pm

ART 3556a, Printmaking I  Hasabie Kidanu

An introductory course on the historical, material, and collaborative nature of printmaking. Through studio projects, lectures, and critiques, we will explore both a personal and technological understanding of the print medium. Where and how does it share a commonality with literature, sculpture, photography and the moving image?  We will experiment with various techniques, including intaglio (dry-point etching, hard ground, aquatint), monotype, relief (linocut), and screen printing. Students will demonstrate critical thinking skills by engaging in a dialogue about their own work and the work of others. The themes of experimentation, reproducibility, storytelling, play, and patience will be particularly highlighted. Prerequisite: ART 1514 or equivalent.  RP
MW 10:30am-12:20pm

* ART 3558a, Introduction to Intaglio Printmaking  Hasabie Kidanu

This studio course introduces students to the foundations of intaglio printmaking including drypoint, line-etch, and aquatint along with plate preparation, printing, and registration. Intaglio, a 500-year old process offering a wide range of marks and tones, involves incising a surface to create a repeatable image matrix. Visiting artists, visits to Yale special collections, essays and lectures will supplement studio instruction. No previous printmaking experience necessary.
M 1:30pm-5:20pm

* ART 3559b, Introduction to Lithography  Irene Michnicki

This studio course introduces students to the foundations of Lithographic printmaking including stone, ball ground, and photographic plates, printing, and registration. Lithography, a planographic process developed in the 19th century, is particularly suited to reproducing drawn marks and high resolution photo prints. Visiting artists, visits to Yale special collections, essays and lectures supplement studio instruction. No previous printmaking experience necessary.
W 3:30pm-7:20pm

* ART 3560b, Print Series  Hasabie Kidanu

The print series has been integral to printmaking since its earliest days, evolving alongside the medium. Through the making of a series we explore what is integral to the printmaking medium and the print shop: in-depth exploration/experimentation, patience, persistence, play, and editing. Students develop a cohesive print series that expresses both their personal and historical appreciation of the medium. Our first half of the semester is an overview of selected techniques–intaglio (dry-point, hard ground, aquatint), relief (linocut, woodcut), stencil (screenprint) printing. The second half of the semester is dedicated to students developing their own projects. Students work independently with guidance from the instructor, culminating in a final portfolio and presentation. Prerequisite: ART 3558, ART 4557, ART 3556, or instructor approval.
TTh 10:30am-12:20pm

ART 4514a, Advanced Drawing  Ryan Sluggett

Further instruction in drawing related to all four disciplines taught in the Art major. Emphasis on the development of students’ conceptual thinking in the context of the physical reality of the drawing process. Class time is divided between studio work, group critiques, discussion of assigned readings, and visits to working artists’ studios. Open to all students by permission of instructor. Art majors prioritized.  RP
MW 3:30pm-5:20pm

* ART 4545b, Advanced Digital Drawing  Anahita Vossoughi

Examines digital processes as pathways to expand traditional practices such as drawing and painting. Through fluid transitions between digital and physical media, students investigate an array of approaches to producing artworks. Readings, discussions, and hands-on projects provide historical, critical, and practical perspectives on how digital tools intersect with material art practices. Group critiques foster collaborative insights and support individual exploration. This class is open to both undergraduate and graduate students. Prerequisite: ART 245, or equivalent; or with permission of instructor.
MW 3:30pm-5:20pm

ART 5110a, Round Trip: First-Year Crits  Matthew Keegan and Byron Kim

A course required of all incoming M.F.A. students in the painting/printmaking department to unpack, denaturalize, and slow down our making and speaking practices as a community. The course hopes to bridge the intensities characteristic of our program: the intensity of the private studio with the intensity of the semi-public critique. We ask crucial questions about the relationships between form and content, between intents and effects, between authorship, authority, and authenticity, between medium specificity and interdisciplinarity, and between risk and failure. How can our ideas and language be tested against the theories of the past and present? Existential, spiritual, and market-based goals (both internal and instrumental motivations) for art making are explored. Meetings alternate between group critique and reading discussion, supplemented by a series of short writing exercises. Enrollment is limited to incoming students in the department, but readings and concepts are shared widely.  3 Course cr
T 3:30pm-6:30pm

ART 5199b and ART 5200a, Pit Crit  Staff

Pit crits are the core of the program in painting/printmaking. The beginning of each weekly session is an all-community meeting with students, the DGS, graduate coordinator, and those faculty members attending the crit. Two-hour critiques follow in the Pit; the fall term is devoted to developing the work of second-year students and the spring term to first-year students. A core group of faculty members as well as a rotation of visiting critics are present to encourage but not dominate the conversation: the most lively and productive critiques happen when students engage fully with each other. Be prepared to listen and contribute. Note: Pit crits are for current Yale students, staff, and invited faculty and guests only; no outside guests or audio/video recording are permitted.  3 Course cr per term
T 3:30pm-6:30pm

ART 5295a and ART 5296b, Painting/Printmaking Thesis  Maria De Los Angeles

The course supports the Painting/Printmaking Thesis exhibition through development of programmatic and publication-based elements that extend the show to audiences beyond Yale, as well as attending to the logistics of the gallery presentation. Studio visits initiate conversations about the installation of physical work in addition to considering the documentation/recording possibilities that allow the work to interface with dynamic platforms online and in print. The course introduces technology and media resources at CCAM and the Institute for the Preservation of Cultural Heritage at West Campus in addition to biweekly studio visits and group planning meetings. Editorial support is provided in order to enfold students’ writings and research with documents of time-based or site-specific work in an innovative and collectively designed publication. Enrollment limited to second-year students in painting/printmaking.  1½ Course cr per term
Th 4pm-7pm

ART 5296b, Painting/Printmaking Thesis  Maria De Los Angeles

The course supports the Painting/Printmaking Thesis exhibition through development of programmatic and publication-based elements that extend the show to audiences beyond Yale, as well as attending to the logistics of the gallery presentation. Studio visits initiate conversations about the installation of physical work in addition to considering the documentation/recording possibilities that allow the work to interface with dynamic platforms online and in print. The course introduces technology and media resources at CCAM and the Institute for the Preservation of Cultural Heritage at West Campus in addition to biweekly studio visits and group planning meetings. Editorial support is provided in order to enfold students’ writings and research with documents of time-based or site-specific work in an innovative and collectively designed publication. Enrollment limited to second-year students in painting/printmaking.  1½ Course cr
Th 4pm-7pm

ART 5342a and ART 5343b, Individual Criticism: Painting/Printmaking  Meleko Mokgosi

Limited to M.F.A. Painting/Printmaking students. Criticism of individual projects.  6 Course cr per term
HTBA

ART 5414b, Colorspace  Anoka Faruqee

How can we “redesign a rainbow,” as Paul Thek suggests in his 1978 “Teaching Notes for the Fourth Dimension”? The psychophysical dimensions of color have been continually debated, reinvented, structured, codified, mystified, and systematized. The term “color space” refers to a range of color mapped by a system, such as RGB or CMYK. But long before these models were used to describe color on screen or paper, artists were utilizing systems to organize color in their work. Hue, value, saturation, and surface are all relative components artists use to structure color in specific ways. In this course we explore the space of color, from its visual and psychological qualities to its relationship to language and culture. Through assignments and critiques, students experiment with different approaches to using color in their own work. Readings and presentations examine principles of color interaction, as well as color’s expressive and symbolic potential. Open to all M.F.A. students.  3 Course cr
M 2pm-5pm

ART 5452a, The Matrix: Textures and Densities of the Grid  Sophy Naess

This print-focused course is intended for M.F.A. students who wish to explore the grid as a principle in their work. Our inquiry spans the occurrence of grid systems in contemporary reprographics as well as in ancient tesserae and weave structures. Students are invited to address compression and expansion at the level of both the image and the substrate itself while contextualizing grid based operations in relation to a range of historical precedents. In conjunction with weekly readings, participants develop new works and present them in group critiques. Screenprinting, pronto plate lithography, and collograph are introduced; some weaving theory and praxis are also explored. Students should have a basic understanding of Photoshop.  3 Course cr
W 3:30pm-6:30pm

ART 5455a, On the Surface  Staff

A material-focused workshop for experimental and technical approaches to building surfaces. Together we explore our affinities to different surfaces. The weekly class time focuses on experiential exercises in making studies and more significant works, workshops from visiting artists, workshares, and studio visits. Working with a range of materials and techniques, from building our substrates out of found objects to traditional approaches, we aim to stay open and discover outcomes to processes that may be surprising or calculated. May we never take for granted what’s on the surface of the work we encounter. Open to all M.F.A. students.  3 Course cr
M 10am-1pm

ART 5470a, Ventriloquism, Performance, and Contemporary Art  Staff

This seminar invokes the art of ventriloquism as a lens through which to engage contemporary painting, sculpture, photography, printmaking, architecture, video, installation, and interdisciplinary practice. Engaging with issues of voice, embodiment, power, and projection, the case studies in this course both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. With historical roots in religious and spiritual practices dating to antiquity, ventriloquism became popular as a theatrical practice in the nineteenth century, with stage performers who gained notoriety for their ability to “throw” their voices onto the bodies of artificial dummies, puppets, and marionettes. Although theoretically outmoded by recording technologies that make possible more seamless practices of voice-throwing, dubbing, and other visual and sonic manipulations, ventriloquism remains alive and well as a strategy within contemporary art and art history, already having been highlighted by artists dating back to Paul Klee and Jasper Johns. The case studies in this contemporary art seminar in oscillate seamlessly between art history, theory, and criticism through both analytical and performative means. This class shines light on what may seem an outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. Artists to be examined include: Jennifer Allora and Guillermo Calzadilla, Candice Breitz, Janet Cardiff and George Bures Miller, Antoine Catala, Mel Chin, Anne Chu, Catherine Clover, Nina Elder, María Consuelo García, Gilbert and George, Guerilla Girls, Ann Hamilton, Sharon Hayes, Pablo Helguera, Pierre Huyghe, Christian Jankowski, Isaac Julien, Tadeusz Kantor, Mike Kelley, William Kentridge, Glenn Ligon, Kerry James Marshall, Courtney McClellan, Juan Muñoz, Bruce Nauman, Philippe Parreno, Wael Shawky, Lorna Simpson, Anna Deveare Smith, Henry Taylor, Kara Walker, Nora Wendl, Jordan Wolfson, and more. Finally, we will consider exhibitions that have literally and metaphorically invoked this theme, such as, for example, José Blondet’s Not I: Throwing Voices (1500 BCE–2020CE), staged at LACMA in 2018 and Ingrid Schaffner’s Puppet Show which toured in 2008 and beyond. Theoretical readings by Giorgio Agamben, Helene Cixous, Sigmund Freud, Jacques Lacan, Fred Moten, Gayatri Spivak, and other philosophers and critics will be paired with individual artists and subthemes as well.  3 Course cr
F 2pm-5pm

ART 5497b, Fabric Lab  Sophy Naess and Vamba Bility

A hands-on, materials-based course, Fabric Lab explores fiber-related praxis through a series of investigations into weave structures, stitching, needlecraft, and knots, as well as the application and removal of color from fabric via printing and dyeing techniques. Instruction is intended to serve individual studio practice. Weekly meetings in the classroom space provide an opportunity to develop and share technical skills as a group in relationship to specific prompts. Readings and presentations contextualize our material explorations within contemporary art practice, unpacking historical hierarchies of “fine art” vs. “craft” and attending to the diverse social histories that underlie our engagement with textiles. The course includes some site visits, including an artist’s studio, a textile conservator’s workshop, and an institutional fibers department.  3 Course cr
Th 10am-1pm