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Academic Catalog 2021-2022 [ARCHIVED CATALOG]
Courses
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Graduate |
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MPPH602 Major Studio-Photography Sem 2 6cr The Graduate Major studio provides the context for graduate critique. Taught by a different faculty member each semester, this class gives graduate students the venue for thinking through their ideas, for sharing the work they produce, and for verbal participation in group critique
Prerequisites: MPPH601
Spring |
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MPPH701 Major Studio-Photography Sem 3 6cr The Graduate Major studio provides the context for graduate critique. Taught by a different faculty member each semester, this class gives graduate students the venue for thinking through their ideas, for sharing the work they produce, and for verbal participation in group critique
Prerequisites: MPPH602
Fall |
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MPPH702 Major Studio-Photography Sem 4 6 or 9cr The Graduate Major studio provides the context for graduate critique. Taught by a different faculty member each semester, this class gives graduate students the venue for thinking through their ideas, for sharing the work they produce, and for verbal participation in group critique.
Prerequisites: MPPH701
Spring |
History of Art |
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HART100 Introduction to Western Art 3 cr. This course is a condensed and comprehensive introduction to the history of Western art from prehistorical times to the twenty-first century. The basic purpose of the course is three-fold: to examine a selection of the most significant monuments of creative endeavor which constitute the canon of Western art; to contextualize succinctly, with historical references and coetaneous examples in other media (especially literature), those monuments; and, finally, to engage students in the ongoing discourse which determines and revises the canon and the ways in which we see and interpret works of art.
Lecture/Seminar
All College Required Fall |
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HART104 Ways of Seeing: Introduction to Visual Culture 3cr Focusing on issues and modes of literacy and visual/textual analysis, this course helps students develop the tools necessary for reflective and engaged looking, reading, thinking, and writing about art, media, design, and text. Analysis of both visual images/objects and texts from a variety of historical periods, beginning in ancient antiquity, will be emphasized through shared case studies (from Asia, Latin America, the
Middle East, Africa, and Europe), keywords, and themes. Throughout, we will prioritize the development of critical thinking, writing skills, and class participation and engagement. Art from the past and present will be grounded in a broader context, with emphasis placed on processes of
perception and the cultural meaning of images and objects. The point is to interrogate how representation, both through its production and
reception, becomes politically activated, and to develop the critical and theoretical tools to begin to deconstruct and acknowledge this process.
Lecture
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HART105 Introduction to Art of the Global African Diaspora 3cr This course introduces students to art of the African diaspora, defined here as transnational networks of forced and chosen dispersal of people
of African descent. By definition, diaspora rejects the category of the nation-state and accompanying nationalisms. Instead, we take mobility, migration, and flux across borders as a starting point for understanding the creativity of African-descended peoples. We will explore how
art/aesthetics stemming from primarily West and Central Africa shifted into new forms of resistance, survival, collective memory,
improvisation, and reinvention under slavery, colonialism, and white supremacy. The “global” in the title emphasizes the reach of the African diaspora beyond the Atlantic World (the primary space of diasporic displacement). We look at the U.S., Caribbean, Brazil, Europe, Japan, and the
Philippines, and also explore Africa itself as part of the diaspora. Art under consideration includes craft and decorative arts (ceramics, wood
carving, quiltmaking); objects of spiritual and ancestral ritual; performance; painting and sculpture inside and outside of white institutions; installation, collage, assemblage, and mixed-media work.
Lecture
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HART110 Art Now 3cr This course follows upon, and continues and
expands, the work of the Western Survey; it is in
fact the culmination of the first term
exploration of the Western Canon, updating and
globalizing the discussion. The course is
collaborative, team-taught by History of Art and
Studio faculty and visiting experts in
appropriate fields, who present the material in
modules, most modules comprising two lectures,
given Tuesday and Thursday, with a short, vital
reading assignment and an online quiz to be
completed before the commencement of the next
module.
Prerequisites: HART100
Lecture
Spring |
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HART206 Art & Revolution 3 cr. Exploration of the cultural and artistic responses to the major modern, social and,
political revolutions between the end of the 18thand 20th centuries. The focus is on rarely
covered artistic responses to political, social,and religious revolutions of the 20th century.
Historical, political, philosophical currents and their impact on painting, sculpture, and
architecture are analyzed. Using a cross-cultural and interdisciplinary approach, the visual arts
are viewed in the context of their relationships to political, social, and religious events of
their representative time periods.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART207 Ancient Greek Art 3 cr. Glory of Ancient Greece: Gods, Politics, and Art will survey the private and public art and architecture produced in Greece and its colonies in the east and west. Emphasis will be placed on the interrelationships among art, mythology, religion, athletics, and history. The class will first discuss the early periods before the people known as Greeks and continue with the formation of the Greek city-state and the rise of Athens as a cultural center of the Greek world in the mid-fifth century B.C.E. Students will then address the spread of Hellenism under Alexander the Great, and conclude with the Late Hellenistic Period shortly after Roman domination of the Mediterranean world.
Prerequisites: HART100
Lecture/Seminar
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HART208 Ancient Roman Art: Politics, Propaganda, and the Decadence of Rome 3 cr. By the beginning of the third century CE, Rome’s dominance reached to England in the north, Africa in the south, and Russia and Iraq in the east. By the late third century CE, however, the Roman Empire became unstable. How was one city able to amass such a vast territory in a relatively short period of time? What were the long-lasting effects of Rome’s attempt at world domination? To help answer these questions and others, students will explore the numerous advancements made in architecture, engineering, and art during the rise and fall of the Roman Empire. Students will also become familiar with various forms of entertainment and literature that address the social, political, and religious makeup of the Roman world.
Prerequisites: HART100
Lecture/Seminar
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HART209 Early Christian and Byzantine Art 3 cr. This course will examine the visual arts of early Christianity from its roots until the fall of the Roman Empire in the Latin west in the fifth century, and will continue with an examination of the visual arts of the Roman Empire in the Greek east until the fall of Constantinople in 1453. Topics to be considered will range from whether the image of Christ might be rooted in that of Zeus or of the Roman Emperor to the role and function of icons; from iconoclasm to the art of monumental mosaics; and from cross-cultural interactions between Christian, Jewish and Islamic visual cultures to the role of visual culture in marking the development of a variety of Christian identities.
Prerequisites: Freshman Seminar
Lecture/Seminar
All College Elective
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HART210 Early Medieval Art 3 cr. A survey of art produced in early Medieval Europe, Western Asia, and North Africa, focusing on the interaction among the diverse cultural traditions of classical Rome, Byzantium, and Northern Europe from the decline of the Roman Empire through the Christianization of Europe, the advent of Islam, and the establishment of the Holy Roman Empire under Charlemagne. Emphasis will be on wall painting, manuscript illumination, stone sculpture, and portable metalwork objects.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART212 Medieval Castles and Cathedrals 3 cr. A survey of major monuments of European architecture from the Early Christian era through the Gothic style, including both religious and secular buildings. Elements of structure, and design sources and processes, will be considered alongside the function and reception of different buildings and building types. The class will also explore the place of architecture in urban and rural settings, the importance of pilgrimage and Crusading for the transmission of ideas, and the translation of monastic ideals into buildings.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART217 Printmaking Empires: Print Culture in The United States, the Americas, and the Caribbean 3cr “Printmaking Empires: Print Culture in the United
States, the Americas, and the Caribbean
In the nineteenth century, an explosion of images
swept the Americas. Facilitated by advancements in
printmaking technologies, these images “conquered”
the hemisphere, often functioning to disseminate
colonial and imperialist ideologies that advanced
the ambitions of various political entities over
the course of the century. This class will
consider the various ways these images produced
meanings in the Americas, looking primarily to the
United States, Latin America, and the Caribbean.
The nineteenth century was a volatile and
formative period, producing standards, tropes, and
ideas that continue to manifest in our own times.
In particular, the rise of powerful artistic
institutions combined with the emergence of mass
consumer culture produced a plethora of visual
imagery that documented every aspect of modern
life. A close consideration of these images can
potentially illuminate negative modes of
representation that persist in contemporary
discourses. By investigating common symbols,
icons, devices, and tropes of this period, I hope
that students will leave this class with improved
“visual literacy,” the ability to “read” images,
both historical and contemporary, in a critical
fashion. Additionally, working closely with the
Printmaking Department at the Massachusetts
College of Art and Design, students will become
conversant in the history of printmaking and
printmaking techniques. “
Prerequisites: HART100
Lecture
Fall |
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HART222 Artistic Personality in the Renaissance I: The Early Renaissance 3 cr. Students undertake an investigation of Italian
art in the fourteenth and fifteenth centuries.
Students will concentrate onthose artists whose
works signal the transition from the Early to the
High Renaissance, a brief period when Western
culture finds a spectacular climax in the
artistic productions of Florence, Rome and
Venice, and when such work comes to be known,
imported, emulated and revered throughout Western
Europe and beyond. Primary sources, and above all
the artistic biographies of Giorgio Vasari, will
be complemented by modern and contemporary
scholastic commentaries. Artists include Giotto,
Duccio, Masaccio, Brunelleschi,
Alberti, Donatello.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART226 Northern Renaissance Art 3 cr. This course explores the art of the Netherlands, France, England, Bohemia, and Germany between about 1350 and 1560, focusing on the development of panel painting and portraiture, and on changes in subject matter, patronage, and the artist’s practice related to the Protestant Reformation. Modern debates about interpretation and the revelations of recent technical analyses will be brought to bear on the works of Claus Sluter, Jan Van Eyck, Rogier van der Weyden, Petrus Christus, Hieronymous Bosch, Pieter Brughel, Albrecht Durer, Hans Holbein, and others.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART240 Art and Archeology of Ancient Mesoamerica 3 cr. Students explore the arts and cultures of the Aztec, Maya and other ancient civilizations of Mexico and Guatemala from 3000 B.C. to the Spanish Conquest of 1521. Special emphasis is given to the formation of religious ideologies and to the processes of urbanization and state development and decline. The legacy of ancient Mesoamerica in modern and contemporary art and culture in the Americas also will be addressed.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART252 Survey of Japanese Art 3 cr. Japanese culture has been taking and transforming diverse cultural elements from various traditions into its own. The unique art of Japan continues to inspire modern artists. This class is designed as a basic introduction to Japanese art from antiquity to the modern era. It is a chronologically organized survey of the canon of Japanese art, including ceramics, architecture, sculpture, painting, woodblock prints, and religious art. We will analyze the works of art and place the art in historical and social context. We examine how this unique tradition develops and changes through the ages and how this tradition interacts with other traditions of art.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART270 Modernism in European Visual Culture, 1886-1936 3 cr. This surveys major movements and theories of modernism in the European visual arts from the end of the nineteenth century to the 1930s.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART273 American Architecture: From Thomas Jefferson to Frank Gehry 3 cr. This course will trace the evolution of American architecture from the country’s earliest days to recent years. It will explore how national identity, landscape, and history have factored into the creation of a uniquely American architectural dialogue. The course will engage primary source texts and local sites to illustrate the nuances of important themes.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART274 Early American Art 3 cr. This course will focus on art and architecture in colonial and early America beginning with Native American Art up to the early nineteenth century, including artists such as John Singleton Copley, Joshua Johnston, Charles Willson Peale, Rembrandt Peale, Paul Revere, Gilbert Stuart John Trumbull, John Vanderlyn. The course will examine American art, architecture, decorative arts and visual culture from the period c. 1600 to c. 1825 from a variety of perspectives. This course will have at its center the question of how we read/should read works of art, and thus the varied course readings will range from traditional to more recent and even controversial methodological frameworks.
Prerequisites: HART100
Lecture/Seminar
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HART280 Art Since 1945 3 cr. In this course we analyze several individual practices and group movements from 1945 to the present. Instead of adhering to the distilled
summaries of a textbook, we engage art of this\ period at less of a remove. Students come to comprehend the difficulty and subjectivity
involved in formulating a history of art by struggling to grasp one viewpoint, and then by considering similarities, differences, and distinctions of degree between it and other viewpoints. Through this firsthand experience, students weave together an understanding of art
history that acknowledges the true variety and complexity of art at any given moment in the second half of the twentieth century and the
first decades of the twenty-first.
Lecture/Seminar
All College Elective
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HART281 Art After Modernism 3cr “Modernism” comprises images, objects, acts,
performances, and so on that derive from an
artist’s experimentation with the inherent
properties of a given medium. Art after modernism
(sometimes called “postmodern”) tends to expand
upon the technical, material, and
intellectual foundations of modernism while also
investigating identity and personal narrative;
political ambiguity and complicity;
institutional critique; the imagery of commerce;
and mechanisms of the artworld and other
phenomena from culture at large. This development
amounts to both an extension and a rejection of
modernist principles, and we will aim to
understand this complexity in recent art.
Prerequisites: HART100
Spring |
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HART283 Russian Modernism 3 cr. A survey of modern art and architecture in Russia from the beginning of the twentieth century. The course will explore issues of national identity and cultural autonomy that informed the emergence of modernism; the postcolonial relationship to European art; the tension between nationalism and internationalism, and how the experiences of exile and diaspora affect these feelings and the artistic expressions thereof; how artists respond to forces such as imperialism, authoritarianism, and revolution; and how globalizing and transnational social, economic and political processes call into question the notion of Russian art. (Formerly “Twentieth Century Russian Art”)
Prerequisites: HART100
Lecture
Fall and Spring |
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HART284 Moving Pictures: Visual Language of Narrative Cinema: Techniques and Traditions 3 cr. Concentrating on the visual language of film, this course will consider the pictorial traditions upon which the new medium draws, and out of which, to some extent, it can be said to grow. We will compare the composition of the standard modules of cinema, the shot and the scene, with precedents drawn from Western art history, from Greek vase paintings to Renaissance fresco cycles and nineteenth-century English narrative pictures. We will simultaneously consider what is unique to the new medium. Weekly examinations of film clips in order to illustrate traditional and non-traditional visual techniques of cinematic narrative will be complemented by wide-ranging readings and regular viewing and reviewing of full-length films. Following a brief history of the medium before the Second World War, we will identify and examine many of the traditional ways in which cinematic artists compose their visual narratives. We will then undertake an in-depth study of some of the major works of cinema since 1945, including films by Rossellini, Bresson, Hitchcock, the French New Wave directors and those of Das Neue Kino in Germany, and the American Independents.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART285 History of Photography 3 cr. An introduction to the history of photography from the inventions of Daguerre and Fox Talbot to the twentieth century masters. The course addresses problems and issues arising from the different techniques of, and the interrelationships between, art, photography, science, and society.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART286 Modern Architecture 3 cr. An investigation of the designed and built environment, from the end of the nineteenth century to the present day. This course examines the influence of technology, aesthetics, politics, social history and economics on modern architecture and urban planning, including the Chicago School, Art Nouveau, international modernism of the 1920s to the 1960s, Post-Modernism, Deconstructivism and worldwide contemporary theory and practice.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART289 History of Sound Art What is Sound Art? Imagine mind-bending sound
pieces using nothing but the echo of a space,
vegetable instruments that turn into soup, a
“Sound Chair” that propels you through the room,
and meditations that reveal sounds in daily life
that you never dreamed were there. The course
will
provide a solid knowledge of sound history and
basic acoustic principals, and examine works by
artists who have blurred traditional boundaries
between music and other disciplines such as
science, design, visual arts and philosophy. This
is an ideal course for artists engaged in
multi-media work that includes sound (i.e.,
video, film, animation, installation, performance art,
circuit-bending) and people interested in
experimental music of any genre. No previous
experience with sound or music needed.
Prerequisites: HART100
Lecture
Spring |
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HART294 Fashion History I 3cr This survey course will introduce students to
fashions from the 18th through the early 21st
centuries. It will address the phenomenon of
increasingly changing styles, and connect fashion
with concurrent art movements and social
developments. Students will make frequent visits
to the Museum of Fine Arts to examine historic
garments and contextual art works, developing
critical “seeing” and thinking. In-class
discussions will explore fashion from multiple
perspectives, taking into account issues of
ethnicity, class, and gender. By the end of the
course, students will be able to identify
stylistic developments over three centuries, and
understand fashion as an art form.
Important themes to be covered:
- Influences of contemporary art and design
movements
- Impact of politics and society on fashion
- Emergence of the haute couture fashion system
in Paris
- Development of the primacy of the
couturier/designer
- Impact of technological advances and
development of ready-to-wear
- Democratization of fashion in the late 20c.
Prerequisites: HART100
Lecture
Fall and Spring |
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HART295 Contemporary Design History 3cr This course approaches design as a tactile and material encounter where social, cultural,
economic, political, technological and aesthetic forces converge. Our job will be to identify where
and when coffee cups and forks, lp and cd covers, bicycles and automobiles, lighting and seating,
screensavers and shopping bags-things usually considered within the scope of “material
culture”-are culturally loaded. When looking at “classic” epicenters of innovation such as the
Eames Office, creative consumption such as DIY production, and the global flow of materials and
products, our concern will be design in an international contemporary context. (Formerly titled Design History)
Prerequisites: HART100
Lecture
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HART296 Modern + Contemporary Latin American Art 3cr This is an introductory course to the art and visual culture of Latin America from the
pre-conquest era to the present. After a survey of pre-conquest cultures, our focus shifts to
Spanish and Portuguese colonial art, then to art of the independence era in the first half of the
nineteenth century, the rise of modernism across Latin America in the 1920s, and finally,
contemporary Latin American and Latino American art, including Chicano American art.
[Formerly titled Latin American Art]
Prerequisites: HART-100
Lecture
Fall |
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HART297 Roots of Design History 3cr This course examines the history of designed
objects, largely furnishings, inclusive of
industrial design and graphic design, handicraft
and automation. The industrial revolution changed
the domestic sphere as much as the conditions of
labor. The increase in mass- produced and
accessible goods (and in ownership) is often
referred to in shorthand as ‘democratization’ and
as a characteristic component of the American
experience. IKEA and Philippe Starck employ the
phrase ‘democratic design’ and DIY practitioners
use it to stake out their independence from
corporations. Can we also use this perspective to
evaluate the proliferation of such things as
newspapers, clocks, mantelpiece statuary, chairs,
ice cream bowls and sardine forks between 1650
and 1920? (Formerly American Design, 1650- 1920), (Roots/Design History 1650-1920 3cr)
Prerequisites: HART100
Lecture
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HART300 Art of Ancient Iraq 3 cr The arts of the ancient Sumerian, Babylonian, and Assyrian cultures of Mesopotamia (Iraq) from the
eighth millennium BC through the fall of the Babylonian Empire in 539 BC. Emphasis is on the
interpretation of art objects as evidence for such historical, social, and cultural developments as
urbanism, social stratification, the institutionalization of religion, imperialism, and
international commerce.
Prerequisites: HART100
Fall Only |
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HART301 Art of Ancient Egypt 3 cr. Survey of the visual culture of ancient Egypt from the Predynastic period (ca. 5000 B.C.) until the end of the New Kingdom (ca. 1000 B.C.). Emphasis is on major examples of architecture, sculpture, and painting viewed in their historical, political, social, economic, and religious contexts. The class looks at the methods and goals of archaeological work in Egypt and how these have shaped contemporary views of the ancient culture.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART305 The Body Politic in American Art to 1876 3cr This course examines how representations in art
and visual culture were tools with which
individuals learned to think of themselves as
American, from the Colonial era to the late 19th
century.Considering how class, race, gender, and
models of physical health and fitness were
rendered visible to widely-dispersed viewers, we
attend to the ‘body’ in the body politic. We
examine how the self, both externalized and
internalized, was understood as essential to
American identity, and mapped onto emerging
concepts of a democratic society. Throughout the
class, we will question what it means to be
‘American,’ and consider the ways in which issues
important in the development of 19thcentury art
remain significant to artists today.
Prerequisites: HART-100
Lecture
Spring |
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HART306 Art and Symbolism in Rituals And Festivals 3cr Dramatic rituals, ceremonies, and celebrations
are pervasive in social life, but what are they
doing and what do they mean? This course
explores how such cultural enactments use art and
artifacts to present and structure people’s
perceptions of reality. We will consider how the
symbolic behavior of rituals and festivals
contributes to the individual and collective
negotiation and enactment of ethnic, gender,
religious, and national identities. On one hand,
we will look at how art in ritualized
performances function to articulate, maintain,
and legitimize particular cultural institutions,
world views, and ideals about consensus and
order. At the same time, we will also analyze
customary rites and festivals as arenas where
authority and resistance, memories and counter
memories sometimes collide in controversy and
contestation. We will draw on analytic
perspectives from psychology, religious studies,
anthropology, sociology, history, art history,
and folkloristics to examine the artistic
aesthetic expression in a range of religious and
secular rituals and celebrations including rites
of passage, seasonal festivals, national
holidays, and public protests. Issues of
cultural representation and preservation,
cultural appropriation and commodification, and
cultural tourism will also be considered,
particularly in regard to how they relate to the
tensions that emerge when traditional cultural
practices come into contact with modernity and
commercialized cultural industries. We will
consider such topics as masking and mumming
traditions in Ireland, Japan, and the Caribbean;
the sacred art of Haitian Vodou, Mardi Gras
Indians in New Orleans, the Italian-American
Giglio festival, Day of the Dead celebrations in
Mexico and the U.S., spontaneous memorials
related to 9/11, and protest art used in various
demonstrations.
Prerequisites: HART-100
Lecture
Spring |
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HART311 Materials and Methods in Medieval Art 3 cr. This course will examine the broad range of materials used to create works of art during the Middle Ages, the techniques used and the thinking that underpinned medieval ideas about artists, art works and the process of artistic creation. Attention will be given to a variety of artistic media produced during the Middle Ages from monumental architecture, stone sculpture and wall painting, to manuscript illumination, textiles and metal work.
Prerequisites: HART100
Lecture/Seminar
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HART314 Climate Change in Contemporary Art 3cr In this class you will study contemporary artists working with the new conditions of social and cultural experience caused by climate change. We begin with readings by a historian and writer to learn about the implications of climate change for long standing ideas of man’s relation to nature. Following these readings are art historical interpretations of contemporary eco-artists in relation to precedents in land art, performance, activist art, and photography. The concluding readings of the course explore new ways of thinking about human relations to non-human animals and materials. Visiting lectures by an art historian and an artist will be opportunities to ask questions about their ideas and practices. We will take a field trip to a sound art project at the Arnold Arboretum to experience this site, and reflect upon how an artist and botanist worked collaboratively to produce it. One aim for this class is for you to use the research you do for this course, particularly for your paper, to develop a resource for the MassArt community on climate change issues in contemporary art and design: we will work as a group to set up a web site and/or a print publication.
Prerequisites: HART100
Lecture
Spring |
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HART320 Villas and Gardens of the Italian Renaissance 3 cr. An investigation of the architecture of leisure in Renaissance Italy, from the early Humanist villas of the powerful Medici family to the farm-villa complexes designed by Palladio in the sixteenth century. Gardens and villas are considered in their role as purveyors of the economic, social and political power of the elite, and in relation to ancient literary and archeological sources and Renaissance design theory.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART325 Palaces,Pavilions and Gardens 3cr. Much of Islamic art is inspired by ideas of paradise. This course will explore the image of paradise and its models in Islamic arts from the 8th through 18th centuries. Islamic palace and garden complexes such as the Alhambra, the Taj Mahal, Topkapi, and others will be examined, as well as paradisical themes in Islamic portable arts, color theory, and abstract geometries. The historical origins of Muslim paradise iconography will be investigated, including the role of Qur’anic and other early Islamic texts, and the ancient garden traditions of Persia, Rome, and Byzantium.
Prerequisites: HART100
Undergraduate Elective Spring |
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HART337 Folk Art,Folk Craft 3cr This course introduces major analytic approaches and issues in the study of traditional expressive
behavior that employs artifacts. The class explores how cultural groups use material
expression to articulate worldview, values, and social relations, and considers such diverse
forms of folk art as the scrimshaw carved by whalers, gravestones in Colonial New England,
Hmong storycloths, Hopi Katsina, graffiti around the world, and Samoan tattooing.
Prerequisites: HART-100
Lecture
Fall and Spring |
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HART340 Maya Art and Archaeology 3 cr. An intensive study of the ancient Maya of Mexico and Guatemala, creators of magnificent sculpture, architecture, painting and ceramics. Students will examine the origins of the Maya, their calendars, writing and artistic traditions, trace the history of the major Maya cities and investigate the decline of Classic Maya art and civilization. The course concludes with the study of modern Maya culture and political issues.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART346 Australian Art 3 cr. This course will examine aspects of visual art and architecture produced on the Australian continent before, during and after the colonial era. In addition to questions of style, meaning and technique, attention will be placed on the question of identity: what do terms such as Australian, Aboriginal, western, non-western mean in the context of contemporary Australia, its history and artistic culture.
Prerequisites: HART100
Lecture/Seminar
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HART347 Renaissance Splendor: Art & Architecture of Venice and the Veneto 3 cr An on-site, comprehensive examination of the painting, sculpture and architecture produced during the Golden Age of Venice, the Veneto and southern Lombardy, 1200-1800. There will be a classroom component at MassArt, in which students will discuss relevant art historical texts and learn conversational Italian. Beginning with a week-long stay in the great city itself, we will study the evolution of Venetian culture from its origins as an outpost of the Byzantine Empire to its rise as the greatest and most enduring republic the world has ever known, as well as one of the richest and most magnetic artistic centers in Europe. After seven days in Venice, we will leave for Mantua, stopping first in the foothills of the Alps to view Palladio’s Villa Barbaro, and then at Padua to view the frescoes by Giotto in the Arena Chapel, which for many mark the beginning of the Renaissance. In Mantua we will study the architecture of Alberti, the frescoes by Mantegna in the Ducal Palace, and finally, the tour-de-force of Renaissance pleasure construction, Giulio Romano’s Palazzo Te. SEE TRAVEL COURSE SECTION FOR OFFICIAL REGISTRATION PROCEDURES. TRAVEL TO ITALY REQUIRED.
Prerequisites: HART100
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HART355 Survey of Chinese Art 3 cr. The long tradition of Chinese art is an important part of human aesthetic experience and a part of the cultural heritage of every modern woman and man in the global family. This class is a chronologically organized survey of the canon of Chinese art, including ceramic, jade, bronze, sculpture, architecture, garden, furniture, calligraphy, painting, and religious art. This survey is meant to provide a historical perspective on the works of art in their historical and social context over the centuries in China and to introduce the students to a repertoire of usable methods of approach to art. The concept of “China” itself is culturally constructed. Students in this class will be asked to think and examine critically how the works of art under the label “Chinese”. constitute a special tradition and how this tradition develops, changes, and interacts with other traditions of art through the ages.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART373 Architecture of Boston 3 cr. This course explores Boston’s architectural landscape from pre-Colonial times to the twenty-first century. We identify the local geographical, industrial, cultural, social, and economic factors that uniquely shaped Boston’s development, and will situate the city’s growth within the context of larger national trends. Topics include individual neighborhoods, local styles and revivals, as well as individual architects that shaped the city, from Charles Bulfinch, H.H. Richardson, and Frederick Law
Olmsted to Anne Spirn, Don Stull, and Meejin Yoon. Walking tours and on-site drawings sessions complement classroom learning.
Prerequisites: HART100
Lecture/Seminar
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HART375 Landscape: Space and Place in Art 1600-2000 3 cr. Focusing on how artists have engaged with their environment from the eighteenth century through the twentieth, this class will subject the subject matter of landscape to close scrutiny. This class will look at parallel developments in Europe and America, and will consider how various stylistic movements in eighteenth, nineteenth and twentieth century painting, as well as photography, graphic arts and even sculpture have reacted to the significance of space and place, and humankind’s impact on the land. Through regular reading assignments, student presentations and research projects, students will track their own relationship to the land, the city and the environment in which we live.
Prerequisites: HART100
Lecture/Seminar
All College Elective
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HART390 Feminism and Art History 3cr The feminist movement of the 1960s and ‘70s
raised questions for both artists and art
historians about the absence of women in the
canon of art history. Scholars and artists first
set out to retrieve the stories of unsung
heroines of the past, and to probe the nature of
female creativity and artistic identity. These
early efforts led to a deeper understanding of
the effect of socially accepted gender roles on
art production as well as reception. The
development of feminist critical theory has
changed the way we look at art history, not only
from the perspective of gender identity, but also
with an awareness of the ways that art reflects
attitudes toward race, religion, and social
status. This course will follow the trajectory of
feminist art history and criticism as it has
expanded from the first inquiries of the 1970s
and enriched the stories we tell about art in the
past and the present.
Prerequisites: HART-100
Lecture
Fall |
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HART400 Directed Study in Art History 3 cr. Directed Study is designed to provide students with the opportunity to pursue an independent art area. Typically, the end result of this project would be a research paper of 30 plus pages, or the equivalent, as agreed upon by the faculty member supervising the project. A Directed Study is a 3-credit course. Because of their advanced nature, Directed Studies courses are open only to seniors, and are limited to one per semester. No more than two Directed Studies may be counted toward degree requirements. You must fill out and return a Directed Study form with a complete description of the project including a bibliography, and a description of the final project. You must also register for the Directed Study.
Prerequisites: By Permission of Instructor
Fall/Spring |
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HART403 Archaeological Theory and Practice 3 cr. An introduction to applied archaeology as a preparation for participation in an archeological excavation. Investigation of archeological theory including history, purposes, goals, and ethics of excavation.
Prerequisites: HART100 and any 200 or 300 level HART course
Lecture/Seminar
All College Elective
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HART404 Protection of Cultural Heritage 3 cr. Examination of the forces that threaten the world’s shared artistic, architectural, and archaeological heritage, and discussion of the practical and theoretical responses to deal with these threats. Class readings and discussion will focus on threats from looting, collecting, museums, and armed conflict. For Art History majors only.
Prerequisites: HART100 and any 200 or 300 level HART course
Departmental Elective
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HART407 Curatorship and Art Historiography 3cr The expertise in the fields of art, history of
art, archaeology, anthropology, science, and/or
classics enable curators to perform their
broad-ranging, multifaceted jobs as
specialists/scholars, conservators & managers &
archivists of material & digital museum
collections, monitors of archeological work &
contract, connoisseurs of artworks and cultural
products, interpreters of cultural (& natural)
heritage, producers and designers of actual &
virtual exhibitions, organizers of symposia,
authors / editors / publishers of scholarly and
popular catalogs / books / websites, and
ambassadors of cultures. Some even regard
curating as a medium of artistic practice. Very
often, curators’ work is interactively engaging
and entangled with the important sociopolitical,
and ethical & legal issues of our society,
inviting experts and the public with different
perspectives to participate the dynamic culture
of curating and to scrutinize, debate, and
reflect on our views, actions, and policies. The
roles of curators evolve alongside the evolving
scholarship, the changing technology, and the
roles of museums. This seminar is to discuss the
interrelationships between curatorship and art
historiography.
Prerequisites: HART 100 and any 200 or 300 level HART course.
Seminar
Instructor’s Discretion |
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HART408 Stained Glass: Histories, Contexts, Interpretations 3cr This advanced seminar in the history of art is an
in-depth exploration of the medium of stained
glass and its long life, from its medieval
origins to modern collecting, revival, and
conservation. Stained glass was an integral
component of
medieval religious buildings and remains an
object of fascination and interpretation in the
modern era. The class will take the greatest
possible
advantage of old and new stained glass in local
collections and churches to gain a first-hand
understanding of the medium. Course work includes
weekly reading, writing, and discussion of
current professional scholarship in the field,
and a
guided independent research project.
Prerequisites: HART-100 and any 200 or 300 level HART course.
Seminar
Fall |
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HART409 Intro to Art Conservation 3cr This course will provide an introduction to the field of art conservation and the preservation of cultural heritage. Students will gain an understanding of the principles and ethics of conservation as well as preventive conservation and the proper handling of artifacts. Lecture topics will include materials and methods of manufacture, deterioration processes, treatments and the role of science and analytical techniques in conservation. Case studies will be used to illustrate these topics where possible. The instructor will draw upon the rich network of local colleagues and labs for guest speakers and site visits. Students will produce an examination and condition report on an assigned object and present their work in an oral presentation at the end of the semester.
Prerequisites: HART100
Lecture
Fall and Spring |
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HART440 Seminar: When Worlds Collide: Aztecs at the Conquest and Beyond 3 cr. The 1521 Spanish conquest of the Aztec of Mexico forged a new world from a monumental collision of religions, philosophies and visual cultures. Through critical reading, research and oral and written presentation of 10-12 page papers, students in this seminar explore the power and paradoxes of Aztec civilization before and in the wake of conquest through examination of Aztec art and documentary sources including pictorial manuscripts and codices, sculpture, painting and architecture. Students also analyze first-hand accounts, memoirs and philosophical treatises recording Spanish conquistadors’ and clergies’ ambivalent responses to Aztec culture, to its sophistication and to its seeming barbarity. The influence of Aztec art on modernism in Mexico, North America and Europe also will be a focus of student discussion and research.
Prerequisites: HART100 and any 200 or 300 level HART course; Art of Mesoamerica and/or Maya Art &Architecture (recommended, not required)
Lecture/Seminar
All College Elective
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HART490 The Methodologies of the History of Art 3 cr. This seminar explores the different ways of seeing, thinking, and writing about art and the history of art. Topics include: art historical narratives, history of form and style, iconology, psychology and art, biography and autobiography of artists, sociopolitical histories of art, gendered histories of art, semiotics— structuralism and deconstruction, post-colonialism, and museology. Students are exposed to the problems of why art changes over time, the hermeneutic challenge to interpret the meaning of arts of various cultures, and how art historians’ own perspectives shape the narratives of the history of art.
Prerequisites: HART100 and any 200 or 300 level HART course
Lecture/Seminar
All College Elective
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Illustration |
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CDIL205 Media Techniques 3 cr. An introduction to the practical application of a range of Illustration materials with a focus on water-based paint media. Through demonstrations, in-class exercises and comparative assignments, students build technical skills and increase knowledge of color in applied problems.
Prerequisites: SFDN181, SFDN185
Hybrid Studio/Critique
Departmental Requirement Fall & Spring |
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CDIL208 Digital Illustration 3 cr. This course explores digital imaging using scanners, drawing tablets, digital cameras, Photoshop and Illustrator for the Macintosh. Concept-driven assignments have strong drawing components.
Prerequisites: SFDN181, SFDN185
Hybrid Studio/Critique
Departmental Requirement Fall/Spring |
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CDIL211 Human Figure in Illustration 3 cr. By drawing the human figure in a variety of situations, students explore basic anatomy. Assignments include use of figure or anatomical drawing in professional practice situations.
Prerequisites: SFDN181, SFDN185
Hybrid Studio/Critique
Departmental Requirement Fall/Spring |
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CDIL214 Drawing: Observation to Concept 3 cr. The course stresses the process of working with dry media techniques (graphite, pastel, colored pencil. scratchboard) basic drawing skills, and2D principles to render concepts. Visual, metaphors are explored by manipulating the contexts and relationships of objects and figures.
Prerequisites: SFDN181 and SFDN185
Critique
Departmental Elective Fall/Spring |
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CDIL215 Sophomore Illustration 3 cr. An introduction to professional illustration with emphasis on drawing and painting from observation. Assignments will introduce students to a variety of illustration venues including book, editorial, and product illustration while exploring the visual methods of color and composition as precise visual tools.
Prerequisites: Take 9 credits from CDIL-205, CDIL-20, CDIL-211 CDIL-214,
CDIL-216
Hybrid Studio/Critique
Departmental Requirement Spring |
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CDIL216 Color for Illustrators 3 cr. Color is a powerful aspect of an illustrator’s education. In response to this assertion, this studio course draws upon the understanding of color theory -though the steadfast focus remains on practical application, on tutoring intuition, heightening awareness, and refining skill. Through a practical exploration of theoretical/conceptual issues, students investigate the complexity and interrelatedness of elements of color - its perceptual, emotional/psychological, technical and aesthetic aspects. Students are required to complete a series of studio projects emphasizing the informed intuitive awareness, creative use, and practical application of color as a formal means of visual communication and expression for storytelling.
Prerequisites: SFDN181 and SFDN185
Hybrid Studio/Critique
Departmental Requirement Fall/Spring |
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CDIL302 Narrative Illustration 3 cr. An exploration of the storytelling power of illustration. Emphasis is on the research and drawing skills needed to develop strong characters in sequential imagery. Students work in a variety of media, both traditional and digital. The course also examines historical and emerging trends in the business of children’s books, textbooks, book covers, artists’ books, and graphic novels.
Prerequisites: CDIL215 or permission of instructor
Critique
All College Elective
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CDIL303 Watercolor 3 cr. An exploration of watercolor as a medium for illustration. Emphasis is on value, light, and applied color theory, working toward an evocative and personal palette. Work of historical and contemporary illustrators is discussed.
Prerequisites: CDIL215 or permission of instructor
Critique
Departmental Elective
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CDIL304 Advanced Drawing Projects for Illustrators 3 cr. The course is a continuing deep investigation into informed drawing. Focus is on drawing as a way of understanding objects, figures, animals, and place in terms of physicality, substance, and subjective response. The practice of drawing is explored as means for research, inspiration, and expression. A series of open-ended topics will be approached individually and idiosyncratically, with the goal of producing a series of rendered essays which inform, reveal, report, and narrate.
Prerequisites: CDIL205, CDIL208, CDIL211,CDIL214, CDIL215, CDIL216
Critique
Departmental Requirement Fall & Spring |
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CDIL305 Word and Image 3 cr. Exploration of letterforms as pictures and pictures as symbols. Typography, the language of designers and art directors, is examined by studying the history and development of fonts and letterforms. Progressively challenging assignments use words and text as pictorial elements in illustrations to strengthen and reinforce concepts.
Prerequisites: CDIL205, CDIL208, CDIL211,CDIL214, CDIL215, CDIL216
Critique
Departmental Requirement Fall & Spring |
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CDIL308 Painting for Illustrators 3 cr. This studio course explores various techniques using watercolor, gouache, acrylics, oil and mixed media in the development of advanced drawing and painting skills as they apply to illustration. The effective use of color will be a primary consideration in all assignments and exercises. Students work in class on painting and drawing skills through still life, landscape and figure studies.
Prerequisites: CDIL215 or Permission of Instructor
Hybrid Studio/Critique
Departmental Elective
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CDIL309 Digital Painting and Techniques 3 cr. This class will use software to apply traditional painting and drawing techniques in a digital format. The students will also have the opportunity to reinforce certain traditional aesthetic values in the creation of a digital painting. Students are encouraged to work as much as possible with their own images and references and to use traditional drawings and utilize found textures. They will be encouraged to use the program to experiment stylistically. This is an advanced course and a basic knowledge of Photoshop and its tools are required.
Prerequisites: Take CDIL-205 CDIL-208 CDIL-211 CDIL-214 CDIL-215 CDIL-216
Critique
Departmental Elective
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CDIL313 Experimental Illustration Techniques 3 cr. Students explore a variety of experimental techniques that push the boundaries of the 2D/3D plane. By looking at the work of mixed media artists of the past and present this class will investigate the possibilities of alternative image making. As the semester progresses these experiments develop into more advanced conceptual pieces over multiple weeks. Some of the techniques covered in the course: various media transfers, collage and layering techniques, various distressing techniques, screen printing, working with found objects, working with 3D objects and photographing your 3D pieces. Basic drawing skills and being open to experimentation are required.
Prerequisites: Open to Juniors and Seniors
Critique
Undergraduate Elective Fall and Spring |
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CDIL314 Book Arts 3 cr. Students will explore bookbinding techniques for various adhesive and non-adhesive book structures, as well as a range of spine structures: sewn, concertina, leperello, wrapped, stabbed, coptic. Methods for creating the student’s own cover papers will be demonstrated and explored. Students will design and create an illuminated trilogy using three different book structures, and design and build a container to hold these. Illumination media may be simple relief printing, painting, drawing, collage, stenciling, or photography, and incorporated text may be self generated or borrowed prose, poetry, lyrics, or dialog. Graphic design and printmaking majors welcome. Students should be at junior or senior levels.
Prerequisites: Open to Juniors and Seniors
Hybrid Studio/Critique
All College Elective Fall & Spring |
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CDIL326 Junior Illustration 3 cr. This course explores various areas of professional illustration. Assignments address book, editorial, product and advertising illustration and emphasize working with color as
a precise visual language.
Prerequisites: CDIL-205,CDIL-208, CDIL-211, CDIL-214, CDIL-215, CDIL216
Departmental Requirement Fall & Spring |
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CDIL327 Technical Illustration 3 cr. This course includes an introduction to the laws of linear perspective,–an exploration of how three-dimensional reality is depicted on a two-dimensional surface. Additional course content includes tools of the trade, various techniques for producing technical illustrations, informational art and instructional illustrations in sequential series.
Prerequisites: CDIL205, CDIL208, CDIL211, CDIL214, CDIL215, CDIL216
Hybrid Studio/Critique
Departmental Requirement Fall/Spring |
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CDIL334 Professional Illustration 3cr Boston is a city rich in diversity as well as
being home to over 100 non-profit organizations
that serve the community at large.
The Professional Illustration for the Community
course aims to provide students with an
opportunity to partner with a variety of area
non-profit organizations, creating illustrated
projects specific to their needs.
Similar in structure to the very popular
Professional Freelance Studio class, assignments
produced in Professional Illustration for the
Community would however have one major
difference: intent.
This course will make students aware of the fact
that illustration need not be limited to the
commercial realm and that their artistic
contribution can lead to greater understanding of
themselves, the community and beyond.
Organizations such as Eagle Eye Institute
(empowering urban people from low-income
communities, especially youth of color, to play
an active role in caring for our environment),
The Bay State Reading Institute (ensuring that
every child leaving elementary school a
proficient reader) and The Boston Tree Party (an
urban agricultural and participatory art
project), would be invited to collaborate with the class.
Prerequisites: CDIL-215
Critique
Undergraduate Elective Fall |
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CDIL337 Virtual 3D Illustration 3cr This course teaches the basics of creating digital 3D illustrations using ZBrush. ZBrush is industry standard software that enables
artists to sculpt directly in a 3D environment. With an emphasis on drawing and composition, this course explores ways to translate 2D drawings into three dimensions. Topics covered include,
character development, environment, lighting and texture.
Prerequisites: CDIL-208 or CDAN 203 or Permission of Instructor
Hybrid Studio Critique
Fall |
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CDIL392 IL Course Assistantship A course assistantship allows qualified
sophomores, juniors, and seniors to assist a
faculty member with whom they have studied
previously. Duties may include set up, assisting
with demonstrations and critiques during class
meetings. Course assistants may not grade
students. Students may register for only one
3-credit course assistantship each semester, and
no more than two such assistantships may count
toward degree requirements.
Students selected by faculty to be course
assistants submit a Course Assistantship form
with the faculty and chair’s signatures to the
Registrar during registration and no later than
the end of the Add/Drop period. Students who are
performing a Teaching Assistantship should follow
Independent Study procedures
Prerequisites: Permission of Instructor
Fall & Spring |
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CDIL398 IL Internship An internship is a supervised professional
experience that allows you to use classroom
training in a real work environment, develop your
skills, focus your career goals, and make
professional contacts.
MassArt offers students enrolled in a degree
program the opportunity to register an internship
for credit. An internship counts as 3 studio
elective credits. To receive credit, the
internship must meet our basic internship
requirements, be approved by a faculty advisor,
and registered before you start the internship.
Prerequisites: Permission of Instructor
Fall and Spring |
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CDIL399 IL Independent Study Juniors and seniors who have a specific studio
project which cannot be accomplished within the
structure of a course may arrange to work with a
faculty member on an independent basis. The
Independent Study form (available in the
Registrar’s Office) includes a description of the
project. Students may take only one 3-credit
independent study each semester, and no more than
four independent studies will count toward the
degree.
Independent Study forms, with faculty and the
chair’s signatures, should be submitted to the
Registrar during registration and not later than
the Add/Drop deadline.
Prerequisites: Permission of Instructor
Fall and Spring |
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CDIL400 Professional Freelance Studio 3 cr. A course designed for highly motivated students interested in freelance illustration. Assignments, developed in conjunction with publishers, corporations, and small businesses, focus on illustration for publication and the experience of taking an actual commission from concept to completion.
Prerequisites: Seniors Only
Critique
Departmental Elective Spring |
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CDIL401 Black and White Illustration 3 cr. Students will explore various dry and wet black and white illustration media and techniques, both additive and subtractive, including some experimental printmaking. Course will include working with brush and ink, pen and Ink, gouache and acrylic paint, stipple with technical pen, pencil on toned paper, block prints, monoprints with emphasis on the power of creating dynamic value as a means to communicate ideas. Students will complete a series of assignments designed to showcase each media’s distinctive strengths.
Prerequisites: Open to Juniors and Seniors
Critique
Departmental Elective Fall & Spring |
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CDIL403 Thesis Project I: Research 3 cr. The first of two semesters involving investigations of a topic of personal interest to
each student which is relevant to illustration. This course demands far-reaching scholarly
research and extensive comprehensive drawings in preparation for a finished body of work.
Prerequisites: CDIL-304, CDIL-305, CDIL-327 or
CDIL-210, CDIL-350, CDIL-326 or
CDIL-310
Runs concurrenlty with CDIL-404 Co-requisites: CDIL404
Critique
Departmental Requirement Fall |
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CDIL404 Thesis Project II: Imagery 3 cr. This course is the second of two semesters in
which students continue to produce finished
illustrations/animations and prepare a bound
graphic summary for the degree project
exhibitions. (Previoulsy Illustration Thesis
Project II)
Prerequisites: CDIL-304, CDIL-305, CDIL-327 or
CDIL-210, CDIL-350, CDIL-326 or
CDIL-310
Runs concurrenlty with CDIL-403 Co-requisites: CDIL403
Critique
Departmental Requirement Fall |
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CDIL420 Illustration Portfolio 3 cr. Development of portfolio material based on the student’s professional focus. Through a series of discussions with the instructor and presentations by illustrators/animators in the field, students develop professional standards and produce finished portfolio pieces.
Prerequisites: CDIL-403 & CDIL-404 Co-requisites: CDIL419
Critique
Departmental Requirement Spring |
Industrial Design |
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EDID3X8 Ethnography and Culture 3 cr. This course explores methods of observing activities of human interaction within cultural context, and focuses on the applied use of these methods and observation activities to product development. The class looks at user culture within specific identifiable groups to aid in the development of design solutions for the needs of the end user.
Prerequisites: EDID245, EDID315
Hybrid Studio/Critique
Departmental Elective
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EDID203 Design for Fabrication 3cr The design of beautiful and desirable object is
enhanced by its details. Understanding the
benefits and limitations of materials and how they
come together to create products feeds the
attention to these details. When one makes this
object they have an intimate connection to these
details. By moving beyond the one-off and
developing the blueprint for multiples the
designer will develop the necessary communication
skills to translate these intentional coming
together with a keen focus on production methods
and color, material and finishes for fabrication
of these objects. Materials explored are wood,
metal, plastics, ceramics and glass.
Hybrid Studio Critique
Fall and Spring |
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EDID205 Drawing for Designers 3 cr. The documentation and communication of ideas require fluency with symbolic and illustrative methods; a language. This course develops and refines the basis of this language, the “alphabet and grammar” used to communicate the characteristic of objects and systems. Through the exploration of various media using architectural or industrial design contexts, this language will be applied to objects and systems allowing them to be easily understood and reproduced.
Hybrid Studio/Critique
Departmental Elective Fall/Spring |
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EDID215 Industrial Design Principles 3 cr. An introduction to processes used in all areas of design and illustration, this course provides a foundation in the methods of concept, image, and form development. Using initial techniques such as brainstorming, mind-mapping, and researching, ideas are developed for a variety of 2D and 3D solutions to applied projects. Tackling common issues of personal engagement, collaboration, and client interaction, students express a personal voice within the specific parameters of each assigned problem.
Hybrid Studio/Critique
Departmental Requirement Fall |
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EDID216 Introduction to CAD/Solid Modeling for ID 3 cr. This course focuses on introducing (industrial) designers to the basics of solid modeling. Aside from basic software familiarization, concepts for 2D and 3D visualization will be introduced. CAD modeling techniques, including surface modeling and plastic design best practices are highlighted with emphasis on the role CAD plays within the design process. Various examples of how CAD can be used; from creating underlays and final mechanical drawings, to exporting files for photorealistic renderings and 3D printing, are explored. Basic familiarity with computers is a must.
Hybrid Studio/Critique
Departmental Elective Fall & Spring |
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EDID218 Product Rendering 3 cr. An in-depth study of several product illustration and presentation styles. Many different drawing and rendering media are used to develop skills in product design presentation.
Critique
Departmental Elective
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EDID220 Joinery 3 cr. Students will develop and refine craftsmanship and design process in the context of furniture design and the construction of two or more furniture pieces. There will be lectures and student research on the history of furniture design, modern movements and techniques.
Hybrid Studio/Critique
Departmental Elective
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EDID224 Conceptual Drawing 3 cr. The course stresses the process of working with dry media techniques (graphite, charcoal, pastel, colored pencil, scratchboard), basic drawing skills, and 2D principles to render concepts. Visual metaphors are explored by manipulating the contexts and relationships of objects and figures.
Hybrid Studio/Critique
Departmental Elective
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EDID225 Industrial Design Form 3 cr. The purpose of this course is to endow students with a vocabulary of form with which to express the function and meaning of their ideas. This will be achieved through the exploration of the objects and object vocabulary, which surround us, and the development of the students’ skills to express ideas visually. The students will be required to develop their communication skills as well as refine their two and three dimensional conceptualization and actualization of projects.
Hybrid Studio/Critique
Departmental Requirement Fall |
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EDID235 Materials & Manufacturing 3 cr. A materials and manufacturing awareness production course in two parts. Part one includes casting, fabrication, and molding techniques for metals and plastics. Students discuss production techniques, selection and use of modern machine tools, dies, jigs, and fixtures. Part two includes product development documentation (three-view preliminary design layout drawings) for manufacturing processes such as sheet metal, casting, extrusion plastics, injection molding, vacuum form, blow molding, and fiberglass.
Prerequisites: EDID215, EDID225
Lecture/Seminar
Departmental Requirement Spring |
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EDID245 Human Factors Seminar I - Ergonomics 3 cr. Review of current theory and practice in issues related to human/machine interface, ergonomics, universal design, etc. Methods and practice of human factors research applied to the re-definition of a product idea.
Prerequisites: EDID215
Hybrid Studio/Critique
Departmental Requirement Spring |
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EDID302 Packaging and the P.O.P. 3 cr. This course is an examination of 3D packaging design covering branding, graphics and the development of a P.O.P. “point of purchase” display. This studio course focuses on design phases from concept, design development to the three-dimensional actualization of a point of purchase display. The goal of this class is to develop a user-centered consumer experience with product/packaging that creates a memorable experience that resonates with the consumer. Open to Industrial Design, Graphic Design and Architectural Design juniors and seniors.
Hybrid Studio/Critique
All College Elective
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EDID303 Integrated Product Design 3cr IPD is structured around the process of creating a successful new product. Our class sessions will explore the knowledge, methodologies and tools
associated with this process. In turn, we will put this process to work in our classroom and in product design and development facilities at Babson College, at Olin College of Engineering, and at Massachusetts College of Art and Design.
The results will be a well-researched market and product opportunity, a product design and an alpha-prototype - all presented at an end-of-semester presentation session.
Critique
undergraduate Elective Fall |
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EDID306 Storytelling for Design Leaders 3cr Storytelling predates writing, and was critical to
early human survival. Today, people and cultures
tap into human emotions, motivations, and
psychology to move others to understand and
interpret their experiences. In Design, success is
directly related to your ability to tell an
engaging story -it is impossible to be understood,
find support for your idea, or have influence as a
Leader without delivering compelling reasons to
listen and take action. This course will help you
be aware of who you are, in order to effectively
express your purpose as a designer in many
formats; visual, written, told and expressed. We
will deploy best practices for telling other
people’s stories-stories of your end users, to
build empathy and support for innovative ideas.
Finally, we will examine and compose the
ingredients to an excellent pitch-how to establish
value, simplify message, construct anticipation,
and persuade your audience to believe and follow
your lead.
Prerequisites: EDID-245
Critique
Fall and Spring |
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EDID314 Rapid Visualization and Perspective 3 cr. Course focuses on sketching as the fundamental tool for communication for designers. Students will be required to maintain a sketchbook as well as complete various weekly sketching assignments. Fundamentals of perspective will be introduced and practiced throughout the class. Examples of how rapid viz techniques fit into the design process as a whole will be illustrated.
Hybrid Studio/Critique
Departmental Elective
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