Yale University Bulletin . 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. 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. Yale Summer Session offers courses during the summer for Yale students. Find the program that is right for you. Yale University Summer Session, P.O. 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. Proposals must be presented to the Academic Subcommittee for approval. Return to Top. Film/Video/Interdisciplinary 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 0. 07b, 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 0. 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 1. 11a 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: $2. Anna Betbeze and Anahita Vossoughi ART 1. 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 1. 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. More than half the members of the Class of 2010 applied this summer for the burgeoning freshman seminar program, which is larger than ever as it enters its third year. This year, of the 688 freshmen who applied to.
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: $1. Sarah Lasley ART 1. 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: $1. 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?” (1. 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 2. 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: $1. Priority to art and film studies majors. Prerequisite: ART 1. Michael Roemer ART 2. 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 2. Lab/materials fee: $1. Prerequisite: ART 1. ART 1. 14a or b, or ART 1. Johannes De. Young ART 3. 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: $2. Jonathan Weinberg ART 3. 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: $1. Prerequisite: ART 1. Michael Roemer and Jonathan Andrews ART 3. 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: $1. Prerequisite: ART 1. Sandra Luckow ART 3. 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: $1. Thomas Allen Harris ART 3. 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).
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