Yale University.Calendar.Directories.

Course Descriptions

In the following listings, courses numbered 110 through 499 are studio electives offered to students from Yale College, the Graduate School, and the professional schools. Permission of the instructor is required for enrollment in all courses. Graduate students of the School of Art who wish to broaden their experience outside their area of concentration have priority in enrollment.

Courses numbered 500 and above are offered only to graduate students of the School of Art. In exceptional cases qualified Yale College students may enroll in a graduate course, with the permission of both the instructor and the director of undergraduate studies. Please refer to the section on Academic Regulations for further pertinent details. It should be noted that, as a matter of policy, all faculty members teach on both the graduate and undergraduate levels, although the degree and the nature of contact may vary.

Tutorials, which are special courses that cannot be obtained through regular class content, require a proposal written by the student and the faculty member concerned, defining both content and requirements. Proposals must be presented to the Academic Subcommittee for approval.

For the most up-to-date course information, please see www.yale.edu/oci.

Return to Top


Film/Video/Interdisciplinary is not a formal area of study in the School of Art; however, a number of students work primarily in film/video or interdisciplinary while enrolled in other areas. The School offers graduate video courses taught by practicing video artists. These classes address fundamental technical issues as well as the far more challenging questions of the contemporary practice of video by artists and this medium’s relation to other forms of art practice. Classes in video are taught in a variety of locations throughout the School of Art and are attended by students from all areas of study.

ART 007b, Art of the Game An 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 films (machinima). Course work surveys a variety of tools including 3-D modeling, animation, and nonlinear narrative scripting tools, as well as Adobe Flash, Processing, and Unity 3-D game development platforms. Sarah Stevens-Morling, and faculty

ART 008b, The Gothic, the Grotesque, and Other Dark Aesthetics From the gothic to the grotesque, from what Freud called the uncanny to what Julia Kristeva named the abject, there are works of art and ways of looking at the world that cause us to rethink our neat philosophical dichotomies of beauty and ugliness, rapture and terror, attraction and repulsion. Using analytical approaches drawn from philosophy, critical theory, and popular culture, we explore the darker corners of aesthetics, art history, and the visual landscape. In the process, we turn a critical eye on our definitions of good taste and bad, beauty and ugliness, cuteness and creepiness. We investigate the historical roots and philosophical assumptions behind aesthetic categories whose influence is alive and well in both the art world and pop culture, such as the gothic, the grotesque, the decadent, camp, kitsch, and the sublime. In doing so, we consider the roles played by gender, race, class, and power in shaping such concepts and sensibilities, whose influence on how we think about the aesthetic realm and visual experience—our ways of seeing—is profound. Enrollment limited to fifteen freshmen. Preregistration required through the Freshman Seminar Program. Mark Dery

ART 111a or b, Visual Thinking 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 and popular culture, as well as art. Projects address all four major concentrations (graphic design, painting/printmaking, photography, sculpture). No prior drawing experience necessary. Open to all undergraduates; required of all art majors. Lab/materials fee: $25. Anna Betbeze and Anahita Vossoughi

ART 142a or b, Introductory Documentary Filmmaking Through a series of video exercises, students explore the craft of capturing and building motion images into a visual language. Camera, composition, lighting, sound, color, editing, and directing are explored. The course begins with the approach of finding stories and images in the world. Sandra Luckow

ART 145a or b, Introduction to Digital Video Digital video represents a provocative combination of vernacular and classical styles through its ease of use and its potential for extremely high production values. This class introduces the basic tools of digital video production. Topics include DV camera operation, sound, and Mac-based editing (Final Cut Pro). After students learn these basic techniques, the remainder of the class consists of individual and collaborative assignments that explore the visual language and production challenges of DV. This class is directed to the spatial and visual aspects of the medium rather than the narrative. The class also includes screenings of experimental films, video art, and DV feature films. Enrollment limited to twelve undergraduates. Lab/materials fee: $150. Sarah Lasley

ART 185a, Principles of Animation This course examines the physics of movement in animated moving-image production, emphasizing historical and theoretical developments in twentieth- and twenty-first-century animation as frameworks for the production of animated film and visual art. Production focuses primarily on classical animation and digital stop-motion. Students utilize a variety of traditional and digital technologies to produce works that explore the fundamental principles of animation. In the first half of the course, students undertake weekly projects in dialogue with class lectures. The second half of the course is focused on individual project development, employing the core principles of animation in a work of the student’s design. Lab/materials fee: $150. Johannes DeYoung

[ART 202a, Feminist Theory and Feminist Art Major issues in feminist theory and art practice since the 1970s. Investigation of different concepts of feminism and how these definitions and agendas have been addressed in art. Reevaluation of the art historical canon sparked by Linda Nochlin’s groundbreaking essay “Why Have There Been No Great Women Artists?” (1971) and exploration of “women’s art” of the 1970s, performance and body art, essentialism vs. the social construction of gender, and the intersection of gender, race, sexuality, and class. Major figures such as Adrian Piper, Judy Chicago, Carolee Schneemann, Cindy Sherman, and Mona Hatoum, as well as lesser-known and emerging artists are covered. Not offered in 2016–2017]

ART 241a, Introductory Film Writing and Directing A workshop in which the problems and aesthetics of the medium are studied in practice as well as theory. In addition to exploring movement, image, montage, point of view, and narrative structure, students photograph and edit their own short videotapes. The writing and production of short dramatic scenes are emphasized in the fall term. Lab/materials fee: $150. Priority to art and film studies majors. Prerequisite: ART 142a or b. Michael Roemer

ART 285b/925b, Digital Animation An introduction to the principles, history, and practice of animation in visual art and film. With a primary focus on making, this course utilizes historical and theoretical developments in twentieth- and twenty-first-century animation as a framework for making digital animation. Production focuses primarily on digital stop-motion and compositing, as well as two-dimensional and three-dimensional computer-generated animation. Students gain an understanding of the principles of animation and develop skill sets in Final Cut Pro, After Effects, and Maya 2012. Lab/materials fee: $150. Prerequisite: ART 111a or b, ART 114a or b, or ART 145a or b. Johannes DeYoung

ART 301b, Critical Theory in the Studio This course introduces students to key concepts in modern critical theory and examines how these ideas can aid in the analysis of creative work in the studio. Psychoanalysis, Marxism, feminism, structuralism, and poststructuralism are examined in relation to modern and contemporary movements in the visual arts, including cubism, surrealism, Arte Povera, pop, minimalism, conceptual art, performance art, the pictures group, and the current relational aesthetics movement. Lab/materials fee: $25. Jonathan Weinberg

ART 341a or b, Intermediate Film Writing and Directing In the first half of the term, students learn the tools and techniques of staging, lighting, and capturing and editing the dramatic scene, and write three-scene short films. In the second half of the term, students, working collaboratively, produce their films. Focus on using the tools of cinema to tell meaningful dramatic stories. Lab/materials fee: $150. Prerequisite: ART 142a or b. Michael Roemer and Jonathan Andrews

ART 342b, Intermediate Documentary Filmmaking Students explore the storytelling potential of the film medium by making documentary art. 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 scrutinized using examples of the students’ work. The term begins with exercises in storytelling principles and progresses to students’ short projects. Lab/materials fee: $150. Prerequisite: ART 142a or b. Sandra Luckow

ART 390a, Strategies of Visual Memoir in Art Practice Rooted in the instructor’s experience with the Digital Diaspora Family Reunion project, this studio-based seminar explores the use of archives in constructing real and fictive narratives across a variety of disciplines. Participants create and develop autobiographic biographies of fiction-based projects tailored to their own work (in art, music, performance, literature, dance, etc.) around Natalie Goldberg’s concept that “our lives are at once ordinary and mythical.” Students explore the construction of visual text in the creation of communal and individual memory. The course examines the works of contemporary artists who draw from the family album—whether inherited or found—to call into question identity, biography, visual literacy, truth, and representation. Lab/materials fee: $150. Thomas Allen Harris

ART 395a, Junior Seminar Ongoing studio projects discussed and evaluated with an emphasis on their relationship to contemporary issues in art, criticism, and theory. 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 (graphic design, painting/printmaking, photography, sculpture). Prerequisite: at least four courses in art. Required of all art majors. Jonathan Weinberg

ART 442a and 443b, Advanced Film Writing and Directing A yearlong workshop designed primarily for art and film studies majors making senior projects. Each student writes and directs a short fiction film. The first term focuses on the screenplay, production schedule, story boards, casting, budget, and locations. In the second term students rehearse, shoot, edit, and screen the film. Enrollment limited to eight. Priority to art and film studies majors. Lab/materials fee: $150. Prerequisite: ART 341a or b. Jonathan Andrews

ART 495a and 496b, Senior Project A yearlong project of creative work formulated and executed by the student under the supervision of faculty and an adviser designated in accordance with the direction of the student’s interest. Proposals for senior projects are submitted to the School of Art Undergraduate Studies Committee (USC) for review and approval at the beginning of the academic year. The fall term is spent working on preparation and physical making of preliminary pieces, while the spring term is spent honing the pieces. Weekly seminar meetings are held throughout the year. Projects are reviewed and graded by an interdisciplinary committee of members of the School of Art faculty and a guest critic. A public exhibition of selected work created in the project is expected of each student. Enrollment limited to senior art majors. Lisa Kereszi and Munro Galloway

ART 902a, Experimental Narratives A broad survey of narrative, documentary, and experimental film (and television) exploring influence and overlap within traditional visual art genres: sculpture, painting, performance, installation, etc. Screenings and discussions examining a variety of moving image histories, practices, and critical issues. The class also reserves time for screening student works in progress, with special consideration given to the presentation of installations and/or site-specific work. Weekly screenings may also be open to nonregistered students with permission of the instructor. John Pilson

ART 908b, Video and Beyond The development of video art, its progressive impact on other forms of contemporary art, and its ultimate evolution into “media” art. The trajectory begins at the moment portable cameras and recording decks were introduced to the consumer market in the late 1960s. With moving images and audio data, video’s capacity to be seen “live” as an event was actually being recorded and its sense of immediacy and relative accessibility made it attractive to artists more interested in concept and process than in object making and marketability. Video and media art have exerted a powerful influence on the practices of all artists since the sixties. In the nascent years of video art, the only format available was videotape, and television monitors were the only means of display. Subsequently, wall-filling (and room-filling) video projectors became affordable in the 1980s. The introduction of new formats of production—CD-ROM, DVD, and now Blue Ray—created a generation of work with increasing possibilities for expression and experimentation. The broader availability of other new technologies such as computer graphics, computer animation, interactivity, robotics, biotechnologies, and the infinite possibilities of communication through the Internet, heralded the transformation of video art into media art. This course is an eyewitness account of these transformations to the present day. It links developments in video and media art to other contemporary expressions (music, performance, installation, and conceptual art), to changes in technology (from the Portapak to digital video), and to popular culture (music videos, YouTube, and podcasts). Barbara London

ART 910b, Screen Space A weekly studio and seminar at the intersection of art and engineering. The course explores how the dynamic architecture of screen and projector can be understood as a site of creative work. Readings and lectures address the evolution of screen and projection technology in the twentieth century. Topics include white light, screens and masks, subtractive and additive color, and digital projection. For the final project, students design and build a projection machine that explores the potential aesthetic language of light, form, color, and motion. Sarah Oppenheimer

ART 949a, Critical Practice Required of all first-year M.F.A. students in the School of Art. Four sections are offered in the fall term. First-year students are required to take one of these sections in their first term and will receive three credits for satisfactory completion. The sections vary widely in subject matter but are not limited to distinct areas of study. They range from technical introductions to theoretical and critical studies. Students are randomly assigned to sections, with a goal that each section contains a mix of students from all areas of study in the School. Marta Kuzma and faculty

ART 951b, Video Seminar This seminar focuses on facilitating the work of M.F.A. students who are actively engaged in producing videos. It encourages the development of student work by creating informational and creative relays between student production and the work of other video artists. Class time is spent discussing student work, reading artists’ writings on video and theoretical texts, and viewing a wide array of art video. Limited enrollment; open to all M.F.A students. Michel Auder

ART 960b, Poetry as Seeing This seminar is designed to help M.F.A. students refine their writing skills and develop a greater understanding of how the use of language relates to their studio practice and their development as professional artists. We look at the poetry and prose of various poets—Amiri Baraka (LeRoi Jones), Elizabeth Bishop, Hart Crane, Edwin Denby, Jack Kerouac, Frank O’Hara, James Schuyler, William Carlos Williams, and others—to find alternative ways of achieving precision in seeing via language, apart from those that can be gleaned from more theoretical or art historical texts. In weekly workshops, students create, distribute, read aloud, and discuss their own writing—either in the form of poetry or experimental prose, or in responses to the readings. Limited enrollment; open to all M.F.A. students. Vincent Katz

ART 961a, Parallel Practices This seminar is designed to help M.F.A. students refine their writing skills and develop a greater understanding of how the use of language relates to their studio practice and their development as professional artists. In biweekly workshops, students create, distribute, read aloud, and discuss their own writing in whatever form it takes: statements, reviews, manifestos, lists, publicity, poetry, fiction, autobiographical sketches, or scripts. Published writings by established artists are also read and discussed. Limited enrollment; open to all M.F.A. students. Rick Moody

ART 962a, What Is an Author? Borrowing its name from a 1977 Michel Foucault essay, this course explores various models of authorship in art and design from the Renaissance to the present. We study the relationship of authorship to ideas of authenticity, authority, and originality. Where is authorship located: in the artist’s skill, experience, or idea? What is the relation of an author’s intention to a work’s interpretation? How do internalized subject positions assert themselves? Through reading, looking, and making, the course challenges students to expand their understanding of both an individual identity (as defined by culture, biography, and biology) and broader norms of authorship. A study of bias and taste (conscious and unconscious) as well as studio experiments in collaboration and impersonation provides the stuff of discussion and critique. Readings include Frantz Fanon, Roland Barthes, Audre Lorde, Kobena Mercer, Miwon Kwon, Christopher Wood, and others. Anoka Faruqee

[ART 973b, What Is/Isn’t Art? What are/aren’t we talking about when we talk about art? For most modernists the story of modern art is that of the distillation and differentiation of mediums; for postmodernists the main events concern the diversification and miscegenation of means and formats. In six sessions that combine lectures by the seminar leader, outside reading, and group discussion, this class both mixes it up and sorts it out with a view to clarifying basic questions about what painting is and isn’t, or rather about what it once was and what it has become. The seminar is primarily open to M.F.A. students, but others who are interested may apply and will be admitted as space permits. Not offered in 2016–2017]

Return to Top

Graphic Design

[ART 001a, Visual Biography Diaries, journals, and scrapbooks studied as authoritative examples of visual autobiography. Social history and visual methods, focusing on American and British cultural life between the world wars. Exercises in collecting, collage, and composition; methods of visually navigating space, time, and memory; discussion of the asynchronous nature of biography. Enrollment limited to fifteen freshmen. Preregistration required through the Freshman Seminar Program. Not offered in 2016–2017]

ART 003a, Blue The cultural and iconic history of the color blue and its role as both a method and a motive for making work in the studio. The word “blue” and its etymological core, evocative connotations, colloquial nuance, and semantic role in different languages and cultures; scientific and sociological issues; blue in film and the fine arts. Projects experiment with writing, collecting, collage, and digital video. Use of materials from the Beinecke Library. Enrollment limited to fifteen freshmen. Preregistration required through the Freshman Seminar Program. Jessica Helfand

ART 006a, Art of the Printed Word Introduction to the art and historical development of letterpress printing. Examination of typographic design, the evolution of private presses, and contemporary printing practices. A historical survey of fine printing, complemented by a practical study of press operations using antique plate presses and the modern cylinder proof press. Topics include typesetting with both hand-set metal and digital type, paper stock and ink selection, basic hand-binding, computer-based design applications, and new technologies such as photopolymer plates. Enrollment limited to fifteen freshmen. Preregistration required through the Freshman Seminar Program. Richard Rose

ART 132a or b, Introductory Graphic Design A studio introduction to visual communication with an emphasis on principles of the visual organization of design elements as a means to transmit meaning and values. Topics include shape, color, visual hierarchy, word/image relationships, typography, symbol design, and persuasion. Development of a verbal and visual vocabulary to discuss and critique the designed world and contribute significant projects to it. Lab/materials fee: $150. Yeju Choi and Henk van Assen

ART 264a, Typography I An intermediate course in graphic design concentrating on the fundamentals of typography, and particularly on how typographic form and visual arrangement create and support content. The course work is based on designing and making books and employs handwork and computer technology. Typographic history and theory are discussed in relation to course projects. Lab/materials fee: $150. Prerequisite: ART 132a or b. John Gambell and Julian Bittiner

ART 265b, Typography II Continued studies in typography incorporating more advanced and complex problems. Exploration of grid structures, sequentiality, and typographic translation, particularly in the design of contemporary books, and screen-based kinetic typography. Relevant issues of design history and theory are discussed in conjunction with studio assignments. Lab/materials fee: $150. Prerequisites: ART 132a or b and ART 264a. Henk van Assen

ART 368a, Intermediate Graphic Design Various ways that design functions; how visual communication takes form and is recognized by an audience. Core issues inherent in design: word and image, structure, and sequence. Analysis and refinement of an individual design methodology. Attention to systematic procedures, techniques, and modes of inquiry that lead to a particular result. Lab/materials fee: $150. Prerequisites: ART 132a or b and ART 264a, or permission of the instructor. Pamela Hovland

ART 369b, Interactive Design and Digital Strategies An introduction to programming and design thinking for Web sites. This class introduces a variety of approaches to digital design and publishing, not only through coding, but also through the use of other tools and theoretical ideas. It also provides a historical and contemporary understanding of the digital landscape. Instruction in HTML, CSS, JavaScript, and other related software. No prior programming experience required. Lab/materials fee: $150. Prerequisite: ART 132a or b, or permission of the instructor. Luke Archer

ART 370a, Motion Design This studio class 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 goal is to experience firsthand the extra dimensions of time-based communications, and to choreograph aural and visual images through selection, editing, and juxtaposition. Lab/materials fee: $150. Prerequisite: ART 265b or 368a, or permission of the instructor. Christopher Pullman

ART 468a and 469b, Advanced Graphic Design This studio course asks how the individual designer can be idiosyncratic in the work that he or she produces, at the same time that the work communicates on its own to a broad audience. Projects focus on the extra dimensions of time-based communications; the controlled interaction of words and images to express an idea or tell a story; the choreography of aural and visual images through selection, editing, and juxtaposition. No prior technical experience required. Lab/materials fee: $150. Prerequisites: ART 264a and ART 368a, or permission of the instructor. Julian Bittiner, Douglass Scott, and Henk van Assen

Graphic Design 710, Preliminary Studio For students entering the three-year program. This preliminary-year studio offers an intensive course of study in the fundamentals of graphic design and visual communication. Emphasis is on developing a strong formal foundation and conceptual skills. Broad issues such as typography, color, composition, letterforms, interactive and motion graphics skills, and production technology are addressed through studio assignments. Barbara Glauber and Scott Stowell

Graphic Design 720, Graduate Studio For students entering the two-year program. The first-year core studio is composed of a number of intense workshops taught by resident and visiting faculty. These core workshops grow from a common foundation, each assignment asking the student to reconsider text, space, or object. We encourage the search for connections and relationships between the projects. Rather than seeing courses as being discreet, our faculty teaching other term-long classes expect to be shown work done in the core studio. Over the course of the term, the resident core studio faculty help students identify nascent interests and possible thesis areas. Sheila Levrant de Bretteville [Sp], Michael Bierut, Paul Elliman, Karel Martens, and Susan Sellers

Graphic Design 730, Graduate Studio For second-year graduate students. This studio focuses simultaneously on the study of established design structures and personal interpretation of those structures. The program includes an advanced core class and seminar in the fall; independent project development, presentation, and individual meetings with advisers and editors who support the ongoing independent project research throughout the year. Other master classes, workshops, tutorials, and lectures augment studio work. The focus of the second year is the development of independent projects, and a significant proportion of the work is self-motivated and self-directed. Sheila Levrant de Bretteville [Sp], Michael Bierut, Irma Boom, Paul Elliman, Michael Rock, Susan Sellers, and Linda van Deursen

Graphic Design 739, Degree Presentation in Graphic Design For second-year graduate students. Resolution of the design of the independent project fitting the appropriate medium to content and audience. At the end of the second term, two library copies of a catalogue raisonné with all independent project work are submitted by each student, one of which is retained by the University and the other returned to the student. The independent project or “thesis” is expected to represent a significant body of work accomplished over the course of two years, culminating in the design of an exhibition of the work. Sheila Levrant de Bretteville [Sp], Keira Alexandra, Alexander Isley, Dan Michaelson, and Susan Sellers

Graphic Design 740a, Typographic Form + Meaning Creating typography that says what it means and means something more. Conventional typography is ostensibly unlearned to bring words and meaning into focus as important drivers of visual form-making and the development of a formal language. An essential by-product is expanding the conceptual framework of projects through responding to formal experimentation and innovation. Projects are print-based, providing various phases of vivisection and reconstitution of individual content and direction. All content is self-initiated, drawing from the student’s thesis and related subjects. Allen Hori

Graphic Design 741b, Typography at Large This course explores a series of typographic projects in which students address typography in terms of color, form, scale, and place. Each student chooses content appropriate to experimentation with typographic form, translating language into a set of projects interrelated both conceptually and formally. Students work in large-scale print (e.g., posters, billboards, banners, newspapers). Other media may be examined; three-dimensional space and/or type in motion can be among the selected narrative tools. Henk van Assen

Graphic Design 742b, Networks and Transactions For first-year graphic design students. How can graphic design influence and be influenced by the unpredictable encounters between one group and another? Or between quantities of unknown users on one side, and vast webs of fluctuating information on the other? In this course students develop typographies, visual languages, and motion vocabularies appropriate for these pervasive conditions of the modern world, found in experiences as varied as Facebook, YouTube “supercuts,” the game of chess, automated stock trading, and the organization and speech patterns of political movements. The course posits that designed form may sometimes be visible, and at other times be relational or latent rather than directly seen. The class is primarily a studio course but also includes a programming lab in which fundamentals of coding are taught through hands-on work each week. No previous programming experience is assumed, and completed projects are expected to be technological in nature. Weekly reading discussions from a range of sources complete a triangle of design, practice, and theory. Dan Michaelson

Graphic Design 743a, Type Design Type design is distinct from “lettering” in that it necessarily calls for a systematic approach, not just a concern for individual forms. The course focuses on a clear, systematic procedure to building the design of a typeface, as well as the aesthetic issues presented by single letters. The class is taught with FontLab, a type-design program for the Macintosh® that allows designers to digitize letterforms on screen and turn them into usable fonts. Students learn the software, together with the principles of designing and spacing type. Fully fledged type designers are not made in one term; the object is to “demystify” the subject and teach users of type an increased appreciation of it. Students work on individual projects, chosen in consultation with the instructors. Individual projects should be carefully chosen, so that the availability of the student’s new font makes a real contribution and serves a clear purpose. With the problems of type design so deeply interconnected, a clearly defined project is necessary to establish solid criteria for subsequent work. The nature of the project determines the route each student takes in researching his or her design. If appropriate to the project, students spend time rendering letterforms by hand, investigating historical sources, or starting immediately on screen. Tobias Frere-Jones and Matthew Carter

Graphic Design 744a, Moving Image Methods This class explores the signature formal properties and possibilities of video and provides critical frameworks for understanding moving image work. A series of hands-on projects introduces video production techniques, with a focus on accessible approaches over technically complex ones. Screenings from various cinema and video art traditions provide context for these explorations and help guide critique of the students’ own work. One thematic focus is on framing the everyday, the overlooked, and the incidental, providing a useful bridge to some of the key concerns of graphic design practice: how to direct attention, create emphasis, make manifest the latent and the liminal. In addition to production strategies, the course offers exercises that focus attention on the act of attention itself, to investigate how video can augment and transfigure the act of observation and uniquely represent what is observed. These exercises build toward the completion of a larger video project incorporating the approaches introduced throughout the term. Students gain the technical and critical facility to incorporate moving image work thoughtfully in their own design practices. Neil Goldberg

Graphic Design 745a, Typographic Methods, Conventions, and Experiments Part methodological, part historical, part experimental, this studio course investigates contemporary Latin-based typography with an emphasis on craft and expression. Typography is not the dutiful application of a set of rules; however, both inherited and emerging conventions across various geographies and media are closely examined. Students learn to skillfully manipulate these conventions according to the conceptual, formal, and practical concerns of a given project. Supported by historical and contemporary writing and examples, assignments aim to develop observational and compositional skills across a variety of media, oscillating between micro- and macro-aesthetic concerns, from the design of individual letterforms to the setting of large texts, and everything in between. The course includes a short workshop in lettering, but the primary focus is on digitally generated typography and type design. Experimentation with nondigital processes is also encouraged. Students develop an increasingly refined and personal typographic vocabulary, customizing assignments according to their skills and interests. Julian Bittiner

Graphic Design 752a, Mobile Computing For second-year graphic design students. This course explores the unique opportunities and qualities available to technology-based design when it is placed in the hands and ears of pedestrians, drivers, aviators, tourists, and other mobile agents. From Paul Virilio’s observation that the Walkman provided pedestrians the syncretic construction of their own outdoor realities “in kit form,” to the 25 billion iPhone applications that have now been downloaded, from “glass cockpits” and GPS systems to handheld museum guides, graphic designers now commonly shift the very interface between people and the environments they explore. But how should we? With reference to avant-gardes that have contributed to and predicted today’s state of the art, including Fluxus, outdoor communication through fashion, and science fiction, the class asks students to design their own applications for the iPhone and other mobile devices. We focus in particular on interaction design for public and private contexts, and user experiences that include users, device, and environment. Applications are Web-based so that advanced programming is not required. Students need not own a smartphone. Graphic Design 742b or similar experience is strongly recommended. Dan Michaelson

Graphic Design 762b, Exhibition Design For second-year graduate students. Problems in the graphic design of a collaborative and self-initiated exhibition. Prerequisite: Graphic Design 752a. Elijah Huge

Master Classes in Graphic Design These are one or two weeks in duration and generally take place at the beginning of the term when both instructor and students are free to devote full time to a single, intensive project. In recent years, master classes have been conducted by Michael Bierut, Irma Boom, Matthew Carter, Paul Elliman, Karel Martens, Sigi Moeslinger, Masamichi Udagawa, and Roel Wouters. Students are admitted at the discretion of the instructor.

Return to Top


ART 004a, Words and Pictures How words and pictures combine to tell a story. We look at handmade illuminated manuscripts and biblical paintings; hand-printed picture stories; machine-printed comic strips and graphic novels. Assignments exploring representation and narration, culminating in a self-directed individual project. Enrollment limited to freshmen. Preregistration required through the Freshman Seminar Program. Dushko Petrovich

ART 114a or b, Basic Drawing 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 necessary. Open to all undergraduates; required of all art majors. Lab/materials fee: $25. Pedro Barbeito, Anna Betbeze, Munro Galloway, William Villalongo, Anahita Vossoughi, Natalie Westbrook, and faculty

ART 116b, Color Practice Students are introduced to the theory and practice of color through observation, experimentation, readings, screenings, discussion, and creative projects. We attempt to arrive at an understanding of color as an evolving scientific, philosophical, and cultural phenomenon. Students are encouraged to consider the role of color in historical and contemporary art practices and in relation to their own artistic development. Required of painting concentration art majors. Lab/materials fee: $75. Anna Betbeze

ART 130a or b, Painting Basics A broad formal introduction to basic painting issues, including the study of composition, value, color, and pictorial space. Emphasis is on observational study. Class and individual assignments introduce students to the technical and historical issues central to the language of painting. Recommended for non-art majors. Lab/materials fee: $75. Faculty

ART 223a and 224b, Figure Drawing The study of the human figure using a range of approaches, with emphasis on observation, anatomy, and spatial structure. Historical examples from cave painting to contemporary art are presented. Lab/materials fee: $75 per term. Prerequisite: ART 114a or b or equivalent. Samuel Messer and William Villalongo

ART 230a and 231b, Introductory Painting A rigorous introduction to form and content in painting starting with structured observational study and ending with student-directed projects. Emphasis is on the syntax of composition, color, and space in a wide range of historical and contemporary painting, both representational and abstract. Lab/materials fee: $75 per term. Prerequisite: ART 114a or b or ART 130a or b, or equivalent. Anoka Faruqee and Munro Galloway

ART 324b, Painting Materials and Methods An introduction to historical materials and methods of painting. Through the study of masterworks in the Yale Art Gallery and the Center for British Art, and the application of observed techniques in student projects, this course bridges the historical with the hands-on. Techniques include varieties of slow-drying, indirect, layered oil painting, and modernist direct application of wet-in-wet paint; supports include wood, canvas, paper, and metal. Recommended for both art and history of art majors. Lab/materials fee: $75. Mark Aronson

[ART 331b, Intermediate Painting This course is designed to be a bridge between the basic concepts and materials of painting and the development of individual studio practice and an orientation to contemporary painting discourse. Students are expected to work independently and make more than twenty paintings. Assignments are given on an individual basis, and students move through an array of self-directed subject matter accompanied by readings that frame a contemporary discourse around painting. Major group critiques as well as individual meetings take place throughout the term. Students are introduced to a range of painting practices through slide lectures, gallery talks, field trips, and demonstrations on process and materials. Lab/materials fee: $75. Prerequisite: ART 230a or 231b. Not offered in 2016–2017]

ART 332a, Painting Time Matching painting techniques with conceptual ideas exploring how painting holds time both metaphorically as well as within the process of creating the work. The class meets at various Yale locations, which serve as subjects for the creation of observational, on-site paintings. Lab/materials fee: $75. Prerequisite: ART 130a or ART 230a or 231b, or permission of the instructor. Samuel Messer

[ART 355b, Silkscreen Printing This course presents a range of techniques in silkscreen and photo-silkscreen, from handcut stencils to prints using four-color separation. Students create individual projects in a workshop environment. Lab/materials fee: $150. Prerequisite: ART 114a or b or equivalent. Open to all M.F.A. students. Not offered in 2016–2017]

ART 356a, Printmaking I An introduction to intaglio (drypoint and etching), relief (woodcut), and screen printing (stencil), as well as the digital equivalents to each technique, including photo screen printing and laser etching and/or CNC milling. Students examine how these analog and digital techniques inform the outcome of the printed image as well as how they can be combined to create more complex narratives. The class culminates with the making of a unique object that integrates the above techniques and evades traditional definitions of printmaking. Lab/materials fee: $150. Prerequisite: Art 114a or b or equivalent. Pedro Barbeito

[ART 359b, Lithography Basic techniques of stone and plate lithography. Students create prints utilizing drawing and/or photo-based imagery. It is recommended that students have a basic knowledge of Photoshop. Lab/materials fee: $150. Prerequisite: ART 114a or b or equivalent. Open to all M.F.A. students. Not offered in 2016–2017]

[ART 430a, Advanced Painting Studio Development of individual themes through independent studio practice. Studio work is complemented by discussion of pertinent topics in historical and contemporary painting. Senior art majors in the painting concentration are encouraged to take ART 430a in advance of ART 495b. Can be taken more than once. Lab/materials fee: $75 per term. Prerequisite: ART 331b. Not offered in 2016–2017]

ART 432a, Painting Studio: The Narrative Figure 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 in-depth study of the gaze, subjectivity, memory, and imagination. After guided assignments, emphasis is on self-directed projects. May be taken more than once. Lab/materials fee: $75. Prerequisites: ART 230a and one of the following: ART 331b, ART 332a, ART 342b, or permission of the instructor. William Villalongo

ART 433b, Painting Studio: Space and Abstraction A course for intermediate and advanced painting students exploring historical and contemporary issues in abstract painting including geometric, optical, material, and gestural abstraction. Studio work is complemented by in-depth study of flatness, depth, color, authorship, and expression. After guided assignments, emphasis is on self-directed projects. May be taken more than once. Lab/materials fee: $75. Prerequisites: ART 230a and one of the following: ART 331b, ART 332a, ART 342b, or permission of the instructor. Munro Galloway

ART 457b, Interdisciplinary Printmaking An in-depth examination of planographic techniques including screen printing, lithography, and digital pigment printing. These techniques are examined in relation to more dimensional forms of printing such as collography, embossment, vacuum bag molding, and 3-D printing. We make editions as well as unique objects, focusing on individual techniques as well as on creating hybrid forms. Recommended to be taken concurrently with Art 324b or Art 433b. Lab/materials fee: $150. Prerequisite: at least one term of printmaking. Open to all M.F.A. students. Pedro Barbeito

Painting 516a, Color Space 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. Anna Betbeze

[Painting 524b, Painting and Material Contingencies This course provides an integrated, materials-based look at painting that seeks to overcome the false dichotomy of subject matter/technique or even form/content. Too often paintings are looked at as disembodied images, while materials and techniques are addressed without taking pictorial needs into account. We approach both historical and contemporary works of art as handmade objects in which particular materials and processes are utilized toward specific goals. Traditionally, the discovery of new materials opened up previously unimagined possibilities for artistic practices, which led to the establishment of new pictorial facts. Simultaneously, ideological demands and pictorial needs of the age prompted experimentation with materials both familiar and unfamiliar, creating new techniques and ultimately new forms. This course gives students a greater understanding of the construction of a painting and helps them see if the needs of their own work are answered by their materials and resulting practices. There are group and individual critiques, slide lectures, and visits to museums and galleries including access to the archives of the Ralph Mayer Learning Center. Not offered in 2016–2017]

Painting 526b, Materiality, Gesture, and Meaning This seminar focuses on materiality in art and the complex interrelationships among material, gesture, and meaning. We trace the history of art alongside the history of material, beginning with prehistory by looking at the influence of the natural world and continuing by examining the influence of industrial and postindustrial materials. The course considers how social, political, and poetic meaning is bound up in materiality, and how material experimentation can drive innovation and generate new systems of meaning. We alternate among class discussions of readings and films, critique of work based on class experiments and assignments, and visits to museums and sites such as the New Haven landfill, a glass factory, and an industrial materials archive. Anna Betbeze

Painting 540a, Drawing Precedents Why draw? Where does our impulse to draw and our particular way of making come from? With a focus on portraiture, we examine how we make and think about constructing a drawing. The class is invested in exploring the benefits of collaborative art making. This is a hands-on class where “making” is a premium component. Samuel Messer

Painting 545, Individual Criticism Limited to M.F.A. painting students. Criticism of individual projects. Anna Betbeze, Anoka Faruqee, Rochelle Feinstein, Munro Galloway, Samuel Messer, Sarah Oppenheimer, and William Villalongo

Printmaking 547b, Graduate Printmaking: The Hybrid Form The focus of this course is on locating and hybridizing printmaking techniques that visually and conceptually enhance the student’s work. We examine various techniques including pigment printouts on canvas, screen printing (both photo and non-photo based) on various materials, collaged prints (collograph, etching, and embossment) on canvas or over frames, toner transfers, laser cutting/etching as substrate and object, CNC milling, and the integration of 3-D printing and vacuum bag molding with painting. Demos, slide lectures, readings, and weekly group critiques in the printshop and studios complement the work.

[Printmaking 550b, Graduate Printmaking Seminar 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. Students use the DMCA for digital work. Not offered in 2016–2017]

[Printmaking 551b, Special Projects in Printmaking A course designed for those with experience who wish to create etchings, relief prints, lithographs, silkscreens, and hybrid forms. All participants must have demonstrated capability in their selected media. Individual meetings are held on a weekly basis with the instructor in an advisory capacity, in the print studio, the student’s studio, or another Yale campus resource location, such as the Art Gallery or the Beinecke Library. All participants meet every three weeks for a group critique. Open to all first- and second-year M.F.A. students. Prerequisites: knowledge of printmaking and permission of the instructor; special application required for admission. Not offered in 2016–2017]

Painting 553a, LABoratory This course investigates the pictorial devices, conceptual positions, tropes, pedagogies, and contexts surrounding the practice of painting in America from the mid-1950s to the present. Paintings are viewed and discussed in relation to other current practices, as well as in terms of the ambient cultural/social environment. A wide variety of contemporaneous source material is read, screened, and discussed. Assigned projects and presentations are premised upon the specific issues suggested by the works under discussion. Students are required to read assigned short texts weekly and screen film and video materials on a regular basis. Open to all M.F.A. students. Rochelle Feinstein

Painting 579b, One Divides: Gender Dialectics This course situates the body marked by gender as a political body by replacing gender binaries with a dialectical approach. We examine gender as a construction that, through the surplus caused by signification, exceeds biological sex. Beginning with the contributions of feminist artists in the 1960s and ’70s and moving to the present, we observe the ways in which the introduction of gender as a subject destabilizes sex, providing the groundwork for understanding gender within the symbolic and imaginary. However, our analysis of gender is not confined to the representation of gender in works of art, or even to gender in the larger field of artistic discourse, but rather is concerned with the role of gender in forming any political subject. Meets biweekly for 1.5 credits. Colleen Asper

Painting 589b, Art and Revolution This course explores the artist’s relationship to the term revolution, an historical paradigm that has fostered artistic discourse and contemporary aesthetics and is often used to define the social significance of art. Looking at the notion of revolution in its fuller meaning both as an immediate and dramatic change of condition and as a circular course of motion around an axis or center, students engage in discussions around their individual art practice aided by a range of media that proposes revolution around artistic and cultural conditions. These media include manifestos, artist writings, interviews, poetry, images, film, video, and audio documentation addressing radical determinations in art and culture that have greatly affected the meaning of “the contemporary” in twentieth- and twenty-first-century art practices. Students debate the relative exchanges or resistances between aesthetic revolutions and human struggles. The course considers the relative merits and limitations of determination or ambivalence in the formation of a contemporary art practice. Alternating biweekly group critiques, in which students present their work outside of the studio, and group meetings to view media with discussion in class. Longer texts are provided as homework to be discussed in relationship to critics or audio/visual media in the classroom. William Villalongo

Return to Top


ART 136a or b, Introductory Black-and-White Photography An introductory course in black-and-white analog photography concentrating on the use of 35mm cameras. Topics include the “lens-less” 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 “flaneur” tradition of small-camera photography as exemplified in the work of artists such as Henri Cartier- Bresson, Helen Levitt, Robert Frank, and Garry Winogrand. Enrollment limited. Lab/materials fee: $150. Lisa Kereszi and Ted Partin

ART 138a or b, Introductory Digital Photography An introductory course in the exploration of the transition of photographic processes and techniques into digital formats. A range of tools is presented, including scanning, digital cameras, retouching, color correction, basic composition, and ink-jet printing. Students produce original work throughout the technical component of the class. After mastering the basics, students work toward the completion of a final project, and remaining classes focus on critiques. Throughout the term, lectures and presentations raise critical issues concerning the impact of digital applications and by-products on the medium of photography. Enrollment limited. Lab/materials fee: $150. Kate Greene, Ted Partin, and Ka-Man Tse

ART 237a, Intermediate Black-and-White Photography A course in black-and-white photography extending the concerns of ART 136a or b. Students are introduced to the use of medium-format cameras and instructed in specialized topics such as night photography, the use of flash, and the manipulation of roll film; later in the term they learn basic digital scanning and grayscale printing techniques and explore the use of color in their photographs. Student work is discussed in regular critiques, supplemented by lectures and readings that consider the rich tradition of handheld photography and the production of artists such as George Brassaï, Diane Arbus, Lee Friedlander, and Robert Adams. Enrollment limited. Lab/materials fee: $150. Prerequisite: ART 136a or b or equivalent. Lisa Kereszi

ART 338b, Intermediate Digital Photography Exploration of both the technical and conceptual aspects of digital photography. A range of tools is used, including advanced film scanning, working with RAW files, masks, compositing and grayscale, and color ink-jet printing. Students produce original work, with special attention to ways in which their technical decisions can clarify their artistic intentions. Lab/materials fee: $150. Prerequisite: ART 138a or b. Kate Greene

ART 379b, Photographic Techniques A course for experienced photography students to become more deeply involved with the important technical aspects of the medium, including a concentrated study of operations required in the use of view cameras, added lighting, and advanced printing techniques. Scanning and printing of negatives are included. Student work is discussed in regular critiques. Review of significant historic photographic traditions is covered. Students are encouraged to employ any previous digital training although class is primarly analog. Lab/materials fee: $150. Prerequisite: ART 237a or permission of the instructor. Lisa Kereszi

ART 401b, Advanced Photography A course intended for those wishing to explore intensely the practice of photography, whether analog or digital. The class is structured around individual projects, editing, and output size. Through the history of photography and film, discussions center on the potentials of black-and-white photography, color photography, video, and the assimilation of the three. Lab/materials fee: $150. Prerequisites: ART 379b or equivalent, and, for those working digitally, ART 338a. Required of art majors concentrating in photography. Benjamin Donaldson

Photography 822a, Digital Imaging: A Photographic Approach to Scanning, Printing, and Color Correction For first-year photography students. Structured to give students a comprehensive working knowledge of the digital workflow, this class addresses everything from capture to process to print. Students explore procedures in film scanning and raw image processing, discuss the importance of color management, and address the versatility of ink-jet printing. Working extensively with Photoshop, students use advanced methods in color correction and image processing, utilizing the medium as a means of refining and clarifying one’s artistic language. Students are expected to incorporate these techniques when working on their evolving photography projects and are asked to bring work to class on a regular basis for discussion and review. Benjamin Donaldson

Photography 823a, Critical Perspectives in Photography For second-year photography students. This class is team-taught by curators and critics, who approach photography from a wide variety of vantage points, to examine critical issues in contemporary photography. The class is taught both in New Haven and New York at various museums and art institutions. The course is designed to help students formulate their thesis projects and exhibitions. Roxana Marcoci, Eva Respini, and Nancy Spector

Photography 824b, Experimental Documents: Video Art and the Photographic Subject For first-year photography students. As the digital model of photography increasingly blurs distinctions between downloads, frame grabs, high-res captures, and sequential images, and artists look to address the multimedia landscape that is everyday life, a new perspective is opened up on the entwined relationship between still and moving image as visual art. This class examines how photographic genres such as psychological portraiture, street photography, the social landscape, appropriation, and cinematic tableaux have been addressed, scrutinized, and extended in both early experimental film and contemporary video art. In a series of production workshops, students explore various approaches and techniques for reinterpreting their photographic subjects into video and other screen-based mediums, while regular screenings and critical reading are the focus of in-class discussions. John Pilson

Photography 825b, What Makes a Book Work? Open to second-year students only. This class surveys the landscape of the contemporary photobook with a focus on producing a class book. Lesley Martin

Photography 828, Issues in Contemporary Photography A full-year course for first-year photography students. This course explores approaches to contemporary photography, from 1975 to the present, beginning with the first generation of postmodernism. Students examine the relationship that art photography has to popular culture and the blurred relationship among photography, film, fashion, advertising, and pornography. Trends and approaches to art photography, including tableaux, appropriation, abstraction, and simulation, are studied. Students also explore how contemporary photographers have worked to challenge, expand, and reinvent such traditional genres as portraiture, the nude, landscape, and still-life photography. Visiting artists, photographers, and filmmakers talk about their work in the context of the discussions at hand. Gregory Crewdson

Photography 845, Individual Criticism Limited to graduate photography students. Ongoing work is reviewed at weekly seminar meetings and privately. Gregory Crewdson, Philip-Lorca diCorcia, John Pilson, Collier Schorr, Roe Ethridge, Roni Horn, and faculty

Return to Top


ART 002b, Paper Paper is at the crossroads of art technology and culture. How paper is made; its evolution and impact; and its future. Trips to Yale’s galleries and libraries to view the myriad ways that paper appears in the collections. Creation of paper objects to explore the formal properties of sculpture, including volume, mass, line, and structure. Enrollment limited to freshmen. Preregistration required through the Freshman Seminar Program. Elana Herzog

ART 110a, Sculpture Basics The concepts of space, form, weight, mass, and design in sculpture are explored and applied through basic techniques of construction and material. Various techniques of gluing and fastening, mass/weight distribution, hanging/mounting, surface/finishing, and types of materials are addressed. In addition to the hands-on application of sculptural techniques, class time is spent looking at various concepts and approaches to the understanding and development of sculptural ideas, from sculpture as a unified object to sculpture as fragmentary process. Selected readings complement the studio work. An introduction and orientation to the wood shop and metal facilities is covered. The shops and the classroom studio are available during days and evenings throughout the week. This course is recommended before advancement into ART 120a, 121b, 122a, or 125a. Enrollment limited to twelve. Lab/materials fee: $75. Sandra Burns

ART 120a, Introduction to Sculpture: Wood An introduction to wood and woodworking technology through the use of hand tools and woodworking machines. Students are guided in the construction of singular objects and learn strategies for installing those objects in order to heighten the aesthetic properties of each work. Students discover both how an object works in space and how space works upon an object. Lab/materials fee: $75. Faculty

ART 121b, Introduction to Sculpture: Metal An introduction to working with metal by examining the framework of cultural and architectural forms. A focus is the comprehensive application of construction in relation to concept. The class offers instruction in welding and general metal fabrication in order to create forms in response to current issues in contemporary sculpture. It also gives a solid foundation in learning how the meaning of work derives from materials and the form those materials take. Lab/materials fee: $75. Brent Howard

ART 122b, Introduction to Sculpture: Video An intensive investigation of time-based works through such mediums as performance, video, installation, and sound. Emphasis placed on the integration and manipulation of mediums and materials to broaden the historical context. Critiques, readings, video screenings, and artist lectures consider how the history of time-based works informs a contemporary practice. Frequent workshops complement the studio work. The shops and studios are available during class time and during days and evenings throughout the week. Enrollment limited. Lab/materials fee: $150. Sandra Burns

ART 125a, Introduction to Sculpture: Mold Making This course offers instruction in the practical aspects of mold making and casting in a variety of materials and techniques. The objective is to provide students with the principles of this traditional technology and infuse these techniques into their practice and creation of sculpture. A foundation in how objects around us are reproduced is essential for the modern sculptor in a culture of mass production. Contemporary issues of art and culture are also discussed. Students are introduced to four major types of molding techniques: waste molds, piece molds, life casts, and flexible molds. Lab/materials fee: $75. Carolyn Salas

[ART 210b, Sculpture as Object Introduction to concepts of design and form in sculpture. Exploration of the use of wood, including both modern and traditional methods of carving, lamination, assemblage, and finishing. Fundamentals of metal processes such as welding, cutting, grinding, and finishing may also be explored on a limited basis. Group discussion complements the studio work. The shops and the studio are available during days and evenings throughout the week. Enrollment limited to twelve. Lab/materials fee: $75. Not offered in 2016–2017]

ART 345a and 346b, Material Form and Fabrication In this course students continue to work in response to assignments. These assignments are designed to provide further investigation into the history of making and thinking in sculpture and to raise questions pertinent to contemporary art. The opportunity exists to explore new techniques and materials while honing familiar skills. This course is designed to help students become self-directed in their work. Individual and group discussion, and visits to museums and galleries, play a significant role. Enrollment limited to twelve. Lab/materials fee: $75. Prerequisite: ART 120a, 121b, 122a, or equivalent, or permission of the instructor. Brent Howard and faculty

[ART 348b, Body, Space, and Time This course provides an exploration of both the conceptual and technical aspects of time-based work, from video and installations to performance, sound, and object making. A variety of workshops and techniques supporting the technical processes of making are offered throughout the term. Frequent critiques, readings, artist lectures, and screenings consider how the history of time-based works informs a contemporary practice, by the development of critical awareness of both the moving image and the use of the body and technology. Shops and labs are available days and evenings throughout the week. Enrollment limited. Lab/materials fee: $150. Not offered in 2016–2017]

ART 371b, Sound Art 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. Enrollment limited. Lab/materials fee: $75. Martin Kersels and Brian Kane

[ART 446b, Advanced Sculpture This course provides the opportunity for a program of self-directed work in sculpture. Group discussion of student projects, and readings, slides, and video that address current art practice, are core to this class. Regular individual and group critiques monitor the progress of each independent project. Enrollment limited to twelve. Open to M.F.A. students. Lab/materials fee: $75. Prerequisite: ART 345a or 346b or equivalent, or permission of the instructor. Not offered in 2016–2017]

Sculpture 630, Studio Seminar Limited to M.F.A. sculpture students. Critique of sculpture, time-based media, and ungainly projects. Students present their work in two venues. Throughout the year a full ensemble of the sculpture faculty and students meet weekly for critiques in which each student’s work is reviewed at least once per term. In addition, during the fall term only, a more intimate in-depth weekly critique takes place in two sections, each limited to eleven students and led by either Martin Kersels or Michael Queenland. There is no singular focus in this smaller critique, as the balance of pragmatic and conceptual considerations surrounding the work is examined and discussed in a fluid way depending on the work at hand and the intent of the artist. Martin Kersels and faculty

Sculpture 645, Individual Criticism Limited to M.F.A. sculpture students. Criticism of individual projects. Martin Kersels, Sandra Burns, and faculty

[Sculpture 649b, Critical Issues Seminar This course is designed to engage issues important to making art through reading and discussion. The content of the readings is designated by the instructor and available at registration. Open to all M.F.A. students. Not offered in 2016–2017]

[Sculpture 653b, Graduate Language Seminar A graduate seminar that examines both written and spoken language through a range of artist statements, art criticism/reviews, curatorial proposals, grants, and finally performance in the public and private sphere. Words and actions become alternate sculptural forms to manipulate and to verbally sketch one’s own conceptual ideas. Each week, students are given assignments on different genres of writing: the manifesto, the art review, the confessional, specific character studies, a curatorial proposal, a grant proposal, and others. Other performance exercises are implemented in order to expand language beyond its conventions and bring writing closer to how one manipulates art in a more experimental way. Not offered in 2016–2017]

Sculpture 657b, The Robot in the Mirror: On Lacan and the Digital Whirlpool This intensive course focuses on Jacques Lacan’s essay on the mirror stage and the ways his ideas may illuminate our relationship with virtual space. We read and discuss, in order to think through the implications of recontextualizing psychoanalytic ideas within our shared technological spectacle. Enthusiastically cognizant of our position as absolute beginners, we avoid the pitfalls of high theory, choosing instead to ground ideas in lived experiences. With this intention, we consider girl robots in recent popular culture, regarding them as propositions for an understanding of subjectivity and the body in space. Be prepared to read intensely and talk passionately. A final project that reflects some of these ideas is required. The project can take any form: sculpture, video, written text, etc. Leslie Dick

[Sculpture 663b, Performance as Object This course offers those participants interested in performance the opportunity to create and get feedback on performance works. Open-ended assignments are really prompts to engage the liberty or constraints of time, site, repetition, etc. Performances are prepared outside of class and performed during class time. Some historical works are viewed and discussed, but the majority of class time is spent on the presentation and critiques of the works created by the participants. Critiques focus on the ideas generated in the work and how those ideas are expressed in the performances. A medium that includes the physical presence of a living body opens up creative options that are not available through most other mediums. Enrollment limited. Not offered in 2016–2017]

Sculpture 666, X-Critique A critique course focusing on time-based and other ungainly works. Students present their work during class time and have the opportunity for an in-depth critique and discussion about their pieces. There is no singular focus in this critique, as the balance of pragmatic and conceptual considerations surrounding the work is examined and discussed in a fluid way depending on the work at hand and the intent of the artist. Enrollment limited. Priority given to those who are able to present their work early in the term; please come to the first class ready to discuss the work you propose to show. Permission of the instructor required. Leslie Dick and Martin Kersels

Sculpture 687b, Actions: Let’s Start with the Body In this performance workshop/seminar we look to the body (our bodies) as a way of understanding the material world, as a means of production, and as a potential subject. Through readings, screenings, and experiments, we examine perception, the senses, time and consciousness, our relationship to both natural and constructed space, interaction with other bodies, and the metaphoric body—political and biological. This class aims to encourage development of individual performative methodologies to inform (and perhaps alter) the nature of each student’s current artistic practice. With an expansive definition of performance—actions in any medium—students conceptualize and realize several short projects. Writers and artists whose work we consider include Maurice Merleau-Ponty, Beatriz Colomina, Paul McCarthy, Jeremy Deller, William Pope.L, Derek Jarman, Yayoi Kusama, Christian Rizzo, and Louise Bourgeois. Meets biweekly for 1.5 credits. Melinda Ring

Return to Top

Yale College Art Major

Director of Undergraduate Studies: Lisa Kereszi

Yale College, the undergraduate division of Yale University, offers a Bachelor of Arts degree program with a major in art. Students may concentrate on a medium such as painting/printmaking, sculpture, graphic design, photography, or filmmaking. Suggested program guidelines and specific requirements for the various areas of concentration are available from the director of undergraduate studies and departmental faculty. Undergraduate applicants wishing to major in art at Yale must apply to Yale College directly. Please contact the Office of Undergraduate Admissions, PO Box 208234, 38 Hillhouse Avenue, New Haven CT 06520-8234, 203.432.9300 (http://admissions.yale.edu).

Students in this major will develop an understanding of the visual arts through a studio-based curriculum, apply fundamentals of art across a variety of media and disciplines, relate the practice of making art to the fields of art history and theory, and gain a high level of mastery of at least one artistic discipline. Courses at the 100 level stress the fundamental aspects of visual formulation and articulation. Courses numbered 200 through 499 offer increasingly intensive study leading to greater specialization in one or more of the visual disciplines such as graphic design, painting/printmaking, photography, filmmaking, and sculpture/4D.

The prerequisites for acceptance into the major are a Sophomore Review, which is an evaluation of work from studio courses taken at Yale School of Art, and five terms of introductory (100-level) courses. Students must be enrolled in their fifth studio course by the time of the Sophomore Review. Visual Thinking (ART 111a or b) and Basic Drawing (ART 114a or b) are mandatory. In exceptional cases, arrangements for a special review during the junior year may be made with the director of undergraduate studies in art.

For graduation as an art major, a total of fourteen course credits in the major field is required. These fourteen course credits must include the following: (1) five prerequisite courses at the 100 level (including Visual Thinking and Basic Drawing); (2) four 200-level and above courses; (3) the Junior Major Seminar (ART 395a) and/or Critical Theory in the Studio (ART 301b); (4) the two-credit Senior Project (ART 495a and 496b); and (5) two courses in the History of Art, Film Studies, or other electives related to visual culture. Suggested program guidelines and specific requirements for the various areas of concentration are available from the director of undergraduate studies. A suggested program guideline is as follows:

  • Freshman year
  • Studio courses, two terms
  • Sophomore year
  • Studio courses, three terms
  • HSAR, FILM, or other visual culture elective, one term
  • Junior year
  • Studio courses, three terms including the Junior Major Seminar and/or Critical Theory
  • HSAR, FILM, or other visual culture elective, one term
  • Senior year
  • Studio courses, four terms including the yearlong Senior Project

Undergraduate studio courses open to students in Yale College
  • ART 002b, Paper
  • ART 003a, Blue
  • ART 004a, Words and Pictures
  • ART 006a, Art of the Printed Word
  • ART 007b, Art of the Game
  • ART 008b, The Gothic, the Grotesque, and Other Dark Aesthetics
  • ART 110a, Sculpture Basics
  • ART 111a or b, Visual Thinking
  • ART 114a or b, Basic Drawing
  • ART 116b, Color Practice
  • ART 120a, Introduction to Sculpture: Wood
  • ART 121b, Introduction to Sculpture: Metal
  • ART 122b, Introduction to Sculpture: Video
  • ART 125a, Introduction to Sculpture: Mold Making
  • ART 130a or b, Painting Basics
  • ART 132a or b, Introductory Graphic Design
  • ART 136a or b, Introductory Black-and-White Photography
  • ART 138a or b, Introductory Digital Photography
  • ART 142a or b, Introductory Documentary Filmmaking
  • ART 145a or b, Introduction to Digital Video
  • ART 185a, Principles of Animation
  • ART 223a and 224b, Figure Drawing
  • ART 230a and 231b, Introductory Painting
  • ART 237a, Intermediate Black-and-White Photography
  • ART 241a, Introductory Film Writing and Directing
  • ART 264a, Typography I
  • ART 265b, Typography II
  • ART 285b, Digital Animation
  • ART 301b, Critical Theory in the Studio
  • ART 324b, Painting Materials and Methods
  • ART 332a, Painting Time
  • ART 338b, Intermediate Digital Photography
  • ART 341a or b, Intermediate Film Writing and Directing
  • ART 342b, Intermediate Documentary Filmmaking
  • ART 345a and 346b, Material Form and Fabrication
  • ART 356a, Printmaking I
  • ART 368a, Intermediate Graphic Design
  • ART 369b, Interactive Design and Digital Strategies
  • ART 370a, Motion Design
  • ART 371b, Sound Art
  • ART 379b, Photographic Techniques
  • ART 390a, Strategies of Visual Memoir in Art Practice
  • ART 395a, Junior Seminar
  • ART 401b, Advanced Photography
  • ART 432a, Painting Studio: The Narrative Figure
  • ART 433b, Painting Studio: Space and Abstraction
  • ART 442a and 443b, Advanced Film Writing and Directing
  • ART 457b, Interdisciplinary Printmaking
  • ART 468a and 469b, Advanced Graphic Design
  • ART 471a and 472b, Individual Projects
  • ART 495a and 496b, Senior Project

Permission of the instructor required in all art courses. A student may repeat an art course with the permission of the director of undergraduate studies. Course materials fees cannot be refunded after the second week of classes.

Graduate courses may be elected by advanced undergraduate art majors who have completed all undergraduate courses in a particular area of study and who have permission of the director of undergraduate studies as well as the course instructor.

Undergraduates are normally limited to credit for four terms of graduate- or professional-level courses (courses numbered 500 and above). Please refer to the section on Academic Regulations in Yale College Programs of Study for further pertinent details.

Return to Top

History of Art

The Department of the History of Art at the Jeffrey Loria Center for the History of Art, 190 York Street, is a department of the Division of Humanities of Yale College and the Graduate School of Arts and Sciences. It offers introductory, intermediate, and advanced courses to students who are interested in (a) entering a major field of study in Yale College, (b) preparing for professional, academic, or museum careers, or (c) supplementing studies in other fields. The department offers a major in Yale College and a program leading to the degree of Doctor of Philosophy in the Graduate School. For a detailed description of courses and requirements see the bulletin Yale College Programs of Study and the bulletin of the Graduate School, Programs and Policies.

The history of art is concerned with a union of visual and verbal experience. It tries to explore the character and meaning of human action through a perception of works of art visually analyzed and verbally expressed. It does not ignore textual and literary evidence or any of the other materials of history, but its special relevance to human knowledge and competence lies in its own construction of the written, the seen, and the spoken. It deals with the entire human-made environment and its relation to the natural world, and therefore has offered courses in the history of all the arts from architecture and urbanism to graphics and the movies.

Students of the history of art at Yale make extensive use of University collections, such as those of the Art Gallery, the Peabody Museum, the Yale Center for British Art, and the Beinecke Rare Book and Manuscript Library. The department profits from its relationship with the School of Art and the other professional schools and welcomes students from them.

Return to Top

Yale QuickLinks.