ART 111a or b, Visual ThinkingStaff

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.  HURP

ART 114a or b, Basic DrawingStaff

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

ART 116a, Color PracticeKern Samuel

Study of the interactions of color, ranging from fundamental problem solving to individually initiated expression. The collage process is used for most class assignments.  HURP
MW 1:30pm-3:20pm

ART 130a or b, Painting BasicsStaff

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.  HURP

ART 225b, Adventures in Self-PublishingAlexander 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 111.
TTh 10:30am-12:20pm

ART 245b, Digital DrawingAnahita 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.
TTh 3:30pm-5:20pm

ART 331b, Intermediate PaintingMaria 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 130, 230, 231, or permission of instructor.  RP
MW 10:30am-12:20pm

ART 332a, Painting TimeSophy Naess

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 130, 230, or 231, or with permission of instructor.  HURP
M 1:30pm-5:20pm

ART 355a, Silkscreen PrintingAlexander 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 114 or equivalent.  HU
TTh 1:30pm-3:20pm

ART 356a, Printmaking IHasabie Kidanu

An introduction to intaglio (dry point and etching), relief (woodcut), and screen printing (stencil), as well as to the digital equivalents of each technique, including photo screen printing, laser etching, and CNC milling. How the analog and digital techniques inform the outcome of the printed image, and ways in which they can be combined to create more complex narratives. Prerequisite: ART 114 or equivalent.  RP
MW 3:30pm-5:20pm

ART 421b, Advanced DrawingRyan 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 432b, Painting Studio: The Narrative FigureStaff

A course for intermediate and advanced painting students exploring historical and contemporary issues in figurative painting including portraiture, narrative and history painting. Studio work is complemented by an in-depth study of the gaze, subjectivity, memory, and imagination. After guided assignments, ultimate emphasis will be on self-directed projects. May be taken more than once. Prerequisites: ART 230 and one course from ART 331, 332, or 342, or with permission of instructor.  HURP
M 1:30pm-5:20pm

ART 457b, Interdisciplinary PrintmakingHasabie Kidanu

An in-depth examination of planographic techniques, including screen printing, lithography, and digital pigment printing. Relationships to more dimensional forms of printing such as collography, embossment, vacuum bag molding, and 3D printing. Creation of editions as well as unique objects, focusing on both individual techniques and creating hybrid forms. Recommended for Art majors to be taken concurrently with ART 324 or 433. Prerequisite: at least one term of printmaking.  RP
TTh 1:30pm-3:20pm

ART 510a or b, Pit CritStaff

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

ART 512a and ART 513b, Thesis 2024Sophy Naess

The course supports the 2024 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 515b, Color SpaceAnoka 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.  1½ Course cr
M 10am-1pm

ART 542a and ART 543b, Individual Criticism: PaintingMeleko Mokgosi

Limited to M.F.A. painting students. Criticism of individual projects.  6 Course cr per term

ART 546a, Round Trip: First-Year CritsMatthew 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 550a, Projections of PrintAlexander Valentine and Maria de Los Angeles

This course is intended for M.F.A. students who wish to develop individual projects in a wide range of printmaking mediums, including both traditional techniques and digital processes and outputs. Participants develop new works and present them in group critiques that meet every other week. Students should have sufficient technical background in traditional printmaking mediums (etching, lithography, silkscreen, or relief) as well as a fundamental understanding of graphic programs such as Photoshop. Demonstrations in traditional mediums are offered in the print studio.  3 Course cr
T 10am-1pm

ART 561a, Pedagogy, Power, and Politics in ArtStaff

This course explores political dimensions, philosophical contexts and aesthetic implications for the teaching and learning of art. We consider a range of global and historical perspectives on the value of an artistic or aesthetic education to both individuals and society. We reflect on the material conditions that have shaped conceptions and models of art education and investigate alternative pedagogical models that have been developed in spite of them. Together, we unpack the complex relationship between pedagogy and aesthetics through the study of artistic and curatorial projects as well as recent texts that have emphasized the importance of pedagogical strategies to much contemporary art and exhibition making.  3 Course cr
M 2pm-5pm

ART 597a, Fabric LabStaff

A hands-on, materials-based course offered within a dedicated shared studio space, 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, but 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 artists' studios and textile production facilities.  3 Course cr
W 3pm-6pm