* ART 0513a, Temperamental Spaces  Lachell Workman

Spaces can sometimes appear as idiosyncratic as the people within them, taking on characteristics we usually ascribe to ourselves. They can appear erratic, comforting, uncanny–even threatening. Working like a therapy session for architecture, the body, and the objects around us, this seminar analyzes a diverse collection of readings and works, ranging from Renaissance mysticism to conceptual art and film, to explore how the visual arts have utilized a productive, but skeptical, relationship with space. Enrollment limited to first-year students.  Enrollment limited to first-year students.  HU
MW 9am-10:15am

* ART 0514a, Research in the Making  A.L. Steiner

Artistic research expands the research form to focus on haptic and tactile study of physical and historical objects. Through field trips to various special collections and libraries, including the Beinecke, the Yale Art Gallery, and the Map Collection, students respond to specific objects in the vast resources of Yale University. Group discussions, lectures, and critiques throughout the term help foster individual projects. Each student conducts research through the artistic mediums of drawing, photography, video, and audio, to slowly build an interconnected collection of research that is also an artwork.   Enrollment limited to first-year students.   HU
W 1:30pm-3:25pm

* ART 0610a, Interdisciplinary Exploration For Making Fictional Worlds, Flying Machines, and Shaking Things Up  Nathan Carter

Whether you aspire to be an engineer, doctor, or astronaut, it can still be vital to dream and invent–by drawing and sculpting in order to generate ideas and develop strategies for learning how to make something out of nothing. In this course, students consider how artists and inventors have used seemingly unrelated materials and content in order to activate creative thinking and generative activity. Students engage in a wide variety of interdisciplinary activities such as drawing, sculpting, painting, printing, photography, reprographics, instrument-building and sound broadcasting. This course emphasizes experimenting with strategies for generating ideas, images and objects, and employs broad modes of creating, including elements of chance, spontaneity, collaborating communally, and synthesizing disparate elements into the process of making. Enrollment limited to first-year students.   HU
MW 9am-10:15am

* ART 0740b / ENGL 0440b, Writer as Designer, Designer as Writer  Rachel Kauder Nalebuff and Andrew Walsh-Lister

This seminar invites us to explore the boundaries between written and visual expression. Students with a background or interest in visual art learn to harness their voices as writers, and writers learn tools for how words take on new meaning through visual compositions. The course investigates the relationship between form and content through the creation of three projects—an interview, a manual, and an essay—each of which is written, designed, and physically produced using a variety of tools at our disposal. Through readings, in-class discussion and exercises, as well as workshops, we consider the ways language and ideas can be communicated to others through different media, and how that media in itself also carries meaning. The aim of the course is to playfully blur the categories of “writer” and “designer” so that we can be both at once: messengers. Previously ENGL 041. Enrollment limited to first-year students. This course does not count toward the Creative Writing Concentration for English majors.  HU
TTh 11:35am-12:50pm

* ART 0907b, Art of the Game  Sarah Stevens-Morling and Elena Bertozzi

Introduction to interactive narrative through video game programming, computer animation, and virtual filmmaking. Topics include interactive storytelling, video game development and modification, animation, and virtual film production. Students produce a variety of works including web-based interactive narratives, collaboratively built video games, and short game-animated film production (machinima). Enrollment limited to first-year students. 
MW 11:35am-12:50pm

* 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 1516b, Color Practice  Anoka Faruqee

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
TTh 9:25am-11:20am

* 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 1610a or b, Sculpture Basics  Staff

Concepts of space, form, weight, mass, and design in sculpture are explored and applied through basic techniques of construction and material, including gluing and fastening, mass/weight distribution, hanging/mounting, and surface/finishing. Hands-on application of sculptural techniques and review of sculptural ideas, from sculpture as a unified object to sculpture as a fragmentary process. The shops and classroom studio are available during days and evenings throughout the week. Enrollment limited to 12.  HU  RP
HTBA

ART 1620b, Introduction to Sculpture: Wood  Lili Chin

Introduction to wood and woodworking technology through the use of hand tools and woodworking machines. The construction of singular objects; strategies for installing those objects in order to heighten the aesthetic properties of each work. How an object works in space and how space works upon an object.  HU
M 1:30pm-5:30pm

ART 1621a, Introduction to Sculpture: Metal  Lili Chin

Introduction to Metal emphasizes working with metal through the framework of artistic, architectural and cultural forms. This course features a comprehensive application of construction in relation to concept. We will examine the ways in which the meaning of a work derives from materials and the form those materials take. Instruction in welding and general metal fabrication techniques will be taught, facilitating the completion of artworks.  HU
W 1:30pm-5:30pm

* ART 1622b, Introduction to Sculpture: Video Installation  Ben Hagari

Exploration of time-based, three-dimensional works through such mediums as performance, video, installation, and sound, with consideration of how they inform contemporary practice. Emphasis on the integration and manipulation of mediums and materials to broaden historical context. Critiques, readings, video screenings, artist lectures, and frequent workshops to complement studio work both during and outside of scheduled class time. Enrollment limited to 12.  HU  RP
Th 1:30pm-5:30pm

* ART 1732a or b, Introduction to Graphic Design  Staff

A studio introduction to visual communication, with emphasis on the visual organization of design elements as a means to transmit meaning and values. Topics include shape, color, visual hierarchy, word-image relationships, and typography. Development of a verbal and visual vocabulary to discuss and critique the designed world.  HU  RP
HTBA

* ART 1745b, Introduction to Digital Video  Neil Goldberg

Introduction to the formal principles and basic tools of digital video production. Experimental techniques taught alongside traditional HD camera operation and sound capture, using the Adobe production suite for editing and manipulation. Individual and collaborative assignments explore the visual language and conceptual framework for digital video. Emphasis on the spatial and visual aspects of the medium rather than the narrative. Screenings from video art, experimental film, and traditional cinema.  RP
M 1:30pm-5:30pm

* ART 1784a or b, 3D Modeling for Creative Practice  Staff

Through creation of artwork, using the technology of 3D modeling and virtual representation, students develop a framework for understanding how experiences are shaped by emerging technologies. Students create forms, add texture, and illuminate with realistic lights; they then use the models to create interactive and navigable spaces in the context of video games and virtual reality, or to integrate with photographic images. Focus on individual project development and creative exploration. Frequent visits to Yale University art galleries. This course is a curricular collaboration with The Center for Collaborative Arts and Media at Yale (CCAM).  RP
HTBA

* ART 1836a, Black & White Photography Capturing Light  Eva O'Leary

An introductory course in black-and-white photography concentrating on the use of 35mm cameras. Topics include the lensless techniques of photograms and pinhole photography; fundamental printing procedures; and the principles of film exposure and development. Assignments encourage the variety of picture-forms that 35mm cameras can uniquely generate. Student work is discussed in regular critiques. Readings examine the invention of photography and the flâneur tradition of small-camera photography as exemplified in the work of artists such as Henri Cartier-Bresson, Helen Levitt, Robert Frank, and Garry Winogrand.  HU  RP
WF 1:30pm-3:25pm

* ART 1838a or b, Digital Photography Seeing in Color  Staff

The focus of this class is the digital making of still color photographs with particular emphasis on the potential meaning of images in an overly photo-saturated world. Through picture-making, students develop a personal visual syntax using color for effect, meaning, and psychology. Students produce original work using a required digital SLR camera. Introduction to a range of tools including color correction, layers, making selections, and fine inkjet printing. Assignments include regular critiques with active participation and a final project.  HU  RP
HTBA

* ART 1942b / FILM 1620b, Introductory Documentary Filmmaking  A.L. Steiner

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
W 1:30pm-5:30pm

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
W 1:30pm-5:30pm

* ART 2480a / TDPS 2009a, The Body as Stage: Experiments in Performance Art  Elise Morrison

Your (Body + Space + Time + Labor + Inquiry + Experience) = Performance Art? Working through experiences of oppression, isolation, illness, and individual/collective trauma, how do artists use their immediate material conditions to investigate and document their own survival as well as to imagine new forms of resistance and collective flourishing? Alternating between seminar discussions (remote) and performance-based experiments (in-person) this course explores the theory and practice of performance art. Beginning with an examination of the ground-breaking bodies of work created by Antonin Artaud and Marina Abramovic, we go on to consider works by more than a dozen twentieth- and twenty-first century artists including Carolee Schneeman, Dread Scott, Rirkit Tiravanija, Ana Mendieta, Stelarc, Yoko Ono, Aliza Shvarts, and others. We investigate topics including ritual, gesture, duration, suffering, dwelling, prosthesis, citation, relationality, protest, intermediality, and interactivity, and we interrogate performance art's accessibility, efficacy, and marketing. Students create several small studies over the course of the semester, sharing them in safe, informal settings and are guided in the development of a culminating work of performance-based research. All physical capabilities are welcome, no prior experience in theater, visual art, or performance is required, and all assignments will be adaptable to the remote environment.  HU  RP
T 1:30pm-4:30pm

* 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.
TTh 9:25am-11:20am

* ART 2706b, Letterpress Printing: History & Fundamental Practice  Staff

A practical introduction to the craft of letterpress printing, with a focus on the physical production of printed material using hand-set type, and plates designed/created by the student. Topics include the history of paper, ink and moveable type, the safe operation and maintenance of printing presses, and the printers’ work flow from design to composition to production and completion of the finished work. ART 1732 or instructor permission.
MW 9:25am-11:20am

ART 2743a, Introduction to Typeface Design  Staff

Procedure for building typeface designs on the basis of historical sources. Aesthetic issues presented by single letters and their interrelationships; principles of letterform rendering and spacing, optical mechanics, cultural signals. Use of the type-design program RoboFont to digitize letterforms on screen and turn them into usable fonts. No prerequisites, this course is explicitly for beginning type designers. More advanced students see ART 7443.
F 1:30pm-5:30pm

* ART 2764a, Typography!  Julian Bittiner

An intermediate graphic-design course in the fundamentals of typography, with emphasis on ways in which typographic form and visual arrangement create and support content. Focus on designing and making books, employing handwork, and computer technology. Typographic history and theory discussed in relation to course projects. Prerequisite: ART 1732.   RP
Th 1:30pm-5:30pm

* ART 2766a, Graphic Design Histories  Geoff Kaplan

This three-part course examines the role of alternative and underground media in the formation of social movements in the United States from the mid- to late 20th century, specifically focusing on graphic design. Our animating question throughout the term is: “can graphic design be understood as a form of activism or protest?”  Looking to histories of graphic innovation linked to diverse social interests (among them, Black power, women’s liberation, queer activism, environmentalism, the antiwar movement, independence movements, etc.), we will study the ways in which collective practices fashion the image of a culture in times of pronounced political change: as a vehement challenge to the dominance of official media and a critical form of self-representation. One goal is to consider the implications of such work in the present, a moment in which corporate media, misinformation campaigns, and algorithmic capitalism has exerted decisive control over public discourse.  HU
M 1:30pm-3:25pm

* ART 2836a, Picturing at the Peabody  Lisa Kereszi

A photography course that is taught both in the School of Art and also in the classrooms and Imaging Studio of the Peabody Museum, making use of the museum’s collections for subject matter and inspiration. Students choose a specific subject, theme, or collection in the museum, research it, and investigate it photographically on site or in the studio to create an original body of work that directly relates to themes and objects found in the museum’s collections. Students work collaboratively to curate a semi-public exhibition in the Peabody Museum building of their photographic artwork to put on view, as well as an exhibit of actual objects chosen in the course of their photography project research. The course studies other artists’ archival exhibits and makes use of an existing exhibition of actual objects curated from the collections to learn the history of photography, as well as learn how an exhibition of archival material is researched, organized, and executed. Prerequisite: ART 1838 or permission of instructor.
TTh 9:25am-11:20am

* ART 2837b, Intermediate Black & White Photography Visual Voice  Lisa Kereszi

A class in black-and-white photography extending the concerns of ART 1836 in which students learn to define and refine their own particular photographic voice through regular critiques and exercises designed around the themes of memory, influence and the collecting impulse. Introduction to the use of loaned medium-format cameras. Specialized topics include long-exposure photography, the use of flash, and intermediate-level printing techniques, including an increase in scale. Survey of the rich tradition of photography and the production of specific artists such as Brassaï, Diane Arbus with regular exposure to contemporary new voices. Prerequisite: ART 1836 or 1838, or permission of the instructor.  HU  RP
MW 9:25am-11:20am

* ART 2839b, Photographic Storytelling  Tommy Kha

An introductory course that explores the various elements of photographic storytelling, artistic styles, and practices of successful visual narratives. Students focus on creating original bodies of work with digital cameras. Topics include camera handling techniques, photo editing, sequencing, and photographic literacy. Student work is critiqued throughout the term, culminating in a final project. Through a series of lectures, readings and films, students are introduced to influential works in the global canon of photographic history as well as issues and topics by a multitude of voices in contemporary photography and the documentary tradition. Prerequisites: ART 1836 or 1838, or permission of the instructor.
MW 1:30pm-3:25pm

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 2:30pm-6:30pm

* 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-5:30pm

* 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 9:25am-11:20am

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 9:25am-11:20am

* 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-5:30pm

* 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-7:30pm

* ART 3648b, Body, Space, and Time  Kameelah Rasheed

Exploration of time-based art mediums such as moving-image work, performance, sound, and installation, with emphasis on the integration and manipulation of different mediums and materials. Ways in which the history of time-based works informs contemporary practice. Individual studio projects as well as workshops in the use of various processes, practices, and techniques.  HU  RP
W 3:30pm-7:30pm

ART 3671a / MUSI 4222a, Sound Art  Martin Kersels and Brian Kane

This cross-disciplinary course, a collaboration between the Department of Music and the School of Art, is aimed at students interested in both the theoretical underpinnings and practical production of sound art. Participants are asked to read texts, discuss issues in and around the subject of sound art, understand the basic history of sound art in relation to the history of music and art, create experimental sound works, and participate in critiques of sound work created during the course. Weekly readings and discussion as well as additional projects are required.  HU
M 1:30pm-5:30pm

* ART 3769a or b, Interactive Design and the Internet: Software for People  Tiriree Kananuruk

In this studio course, students create work within the web browser to explore where the internet comes from, where it is today, and where it’s going—recognizing that there is no singular history, present, or future, but many happening in parallel. The course in particular focuses on the internet’s impact on art—and vice versa—and how technological advance often coincides with artistic development. Students will learn foundational, front-end languages HTML, CSS, and JavaScript in order to develop unique graphic forms for the web that are considered alongside navigation, pacing, and adapting to variable screen sizes and devices. Open to Art majors. No prior programming experience required. Prerequisite: ART 1732 or permission of instructor.  RP
HTBA

ART 3770b, Motion Design: Communicating with Time, Motion, and Sound  Staff

A studio class that explores how the graphic designer’s conventions of print typography and the dynamics of word-image relationship change with the introduction of time, motion, and sound. Projects focus on the controlled interaction of words and images to express an idea or tell a story. The extra dimensions of time-based communications; choreography of aural and visual images through selection, editing, and juxtaposition. Prerequisite: ART 2765; ART 3768 recommended.  RP
M 1:30pm-5:30pm

* ART 3779a, Hardware for People  Tiriree Kananuruk

Graphic design shapes how people interact with objects, interfaces, and environments. In physical computing, graphic design extends beyond static form to systems that sense, respond, and change in real time. This course focuses on designing physical devices and interfaces that we interact with using our bodies, introducing physical computing as a design practice centered on the relationship between body, object, and computation. Using electronics, sensors, and microcontrollers such as ESP32, students explore how touch, movement, and presence become inputs that influence visual and interactive outcomes. Hardware is approached as a form of interface and communication. Throughout the course, students examine questions such as: What does it mean to design a moveable interface? What does an interface look like when it can change in real time? How do design decisions shape interaction? How can designers sense space and context? Can the audience become part of the work? Permission of instructor. Prior experience with programming and interactive media is strongly recommended. Completion of ART 3769 or a similar course is ideal. Students should be comfortable building simple interactive systems and working with basic programming concepts. Experience with JavaScript or other programming languages such as Processing, Python, Java, C, or C++ is sufficient. No prior experience with electronics or hardware is required. 
MW 9:25am-11:20am

* ART 3794a, Text, Speech, and Moving Image  Neil Goldberg

This studio course explores the formal and expressive possibilities of language—both as visual text and spoken word—within video art. Through in-class prompts, students generate writing in various styles, including diaristic, free-associative, expository, and lyrical. This writing serves as a catalyst for video material, which in turn informs new writing, cultivating an iterative dialectic between the two. Readings are drawn from experimental memoir, fiction, poetry, and hybrid forms; screenings include single-channel video art, video installation, and experimental cinema. Students engage in regular critiques as they develop a series of short video works, culminating in a final project. Prerequisites: ART 145 or permission of instructor.
M 3:30pm-7:30pm

* ART 3879b, Form For Content in Large Format  Benjamin Donaldson

A course for experienced photography students to become more deeply involved with the important technical and aesthetic aspects of the medium, including a concentrated study of operations and conceptual thinking required in the use of loaned analog view cameras, added lighting and advanced printing techniques. Scanning and archival printing of negatives are included. Student work is discussed in regular rigorous critiques. Review of significant historic photographic traditions is covered. Students are encouraged to employ any previous digital training although this class is black-and-white analog photography Prerequisite: ART 2837 or permission of instructor.  RP
TTh 9:25am-11:20am

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 2:30pm-6:30pm

* ART 3995a or b, Junior Seminar  Staff

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  Henk Van Assen

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 4514b, Advanced Drawing  Anahita Vossoughi

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 9:25am-11:20am

* ART 4557b, Interdisciplinary Printmaking  Hasabie Kidanu

Printmaking is inherently collaborative, generative, and social. Through studio projects, readings, and critiques, we explore both a personal and historical understanding of this medium. We learn how we can integrate printmaking with other disciplines. Where and how does it share a commonality with literature, sculpture, photography, and the moving image? We experiment with techniques, including intaglio (dry-point etching, aquatint, hard ground etchings), woodcuts, stencil, and screen printing. The themes of experimentation, play, reproducibility, circulation, and patience are particularly highlighted. Prerequisite: at least one term of printmaking.  RP
MW 9:25am-11:20am

ART 4768b, Advanced Graphic Design: Ad Hoc Series and Systems  Julian Bittiner

Much of the field of design concerns itself with devising systems in an attempt to create aesthetic coherence and reduce creative uncertainties, seeking efficiencies with respect to time, production and materials. However this strategy always comes up against each individual set of circumstances; the materials and content at hand, a particular cast of collaborators, a given timeframe. There is an element of the ad hoc in every piece of design; a need to improvise, interpret, adapt, make exceptions. A second thematic concern of this class is the exploration of medium-specificity and medium-porosity as they relate to such systems. The course is comprised of a series of interconnected prompts across distinct formats in print, motion, and interactive, at a wide variety of scales. A third and final thread is the cultivation of greater awareness of the evolving social and aesthetic functions of design processes, artifacts, and channels of engagement and distribution, within increasingly complex cultural contexts. Prerequisites: ART 2764 or 2765, and 3767 or 3768, or permission of instructor.  RP
W 1:30pm-5:30pm

* ART 4801a, Photography Project Seminar  John Pilson

A further exploration of the practice of photography through a sustained, singular project executed in a consistent manner over the course of the semester, either by analog or digital means. Student work is discussed in regular critiques, the artist statement is discussed, and lectures are framed around the aesthetic concerns that the students’ work provokes. Students are exposed to contemporary issues though visits to Yale’s collections and in lectures by guest artists, and are asked to consider their own work within a larger context. Students must work with the technical skills they have already gained in courses that are the pre-reqs, as this is not a skills-based class. Required of art majors concentrating in photography. Prerequisites: ART 1836 or 1838 and preferably, 2837, 3838 or 3879, or permission of the instructor. ART 1836 for those working in analog and, for those working digitally, ART 1838.  RP
M 1:30pm-5:30pm

* 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 8:20am-12:20pm

* ART 4995a, Senior Project I  Marta Kuzma

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 9:25am-11:20am

* ART 4996b, Senior Project II  Matthew Keegan and A.L. Steiner

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 9:25am-11:20am