Course Descriptions
**Below are courses from Spring 2024. Please consult the course schedule available through my.uic.edu for a specific semester's course offerings.**
ONCAM: On-campus/In-person course
HYBRID: Will be a combination of in-person and online content that will be determined by the instructor
SYNC: All online and meets during prescribed times/days
ASYNC: All online, but content and meeting times are not set.
This is subject to the regulations of the University and individual structure based on each instructor's syllabi and discretions.
**All times are Central U.S. timezone unless otherwise states.**
ART 101: Signifying Practices: Art and Visual Culture
Jennifer Reeder: MW 9-1130, ONCAM - AEH 3204, CRNs: 35214 + 35213
Introduction to theoretical perspectivs for analyzing experiences of visual and multi-modal phenomena. Strategies for researching and writing about topics related to contemporary aesthetic practices. Course Information: Field trips required at a nominal fee. Class Schedule Information: To be properly registered, students must enroll in one Lecture and one Laboratory.
ART 112: Introduction to Drawing
Dan Peterman: MW 1-330, ONCAM - AEH 5215, CRNs: 35216 + 35215
Instructor TBD, MW 4-630, ONCAM - AEH 5215, CRNs: 35218 + 35217
Instructor TBD, TTH 9-1130, ONCAM - AEH 5215, CRNs: 38624 + 38626
Instructor TBD, TTH 12-230, ONCAM - AEH 5215, CRNs: 38659 + 38658
Instructor TBD, TTH 3-530, ONCAM - AEH 5215, CRNs: 40686 + 40685
Introduction to drawing: orientation to the description and expressive potential of drawing through exposure to a variety of subjects, media, and formal concepts. Course Information: Previously listed as AD 102. Field trips required at a nominal fee. Course Schedule Information: To be properly registered, students must enroll in one Lecture and one Laboratory.
ART 130: Introduction to Painting + Color
Instructor TBD, MW 9-1130, ONCAM - AEH 4200, CRNs: 35220 + 35219
Instructor TBD, MW 1-330, ONCAM - AEH 4200, CRNs: 38628 + 38627
Instructor TBD, TTH 9-1130, ONCAM - AEH 4200, CRNs: 39302 + 39303
Matthew Metzger: TTH 12-230, ONCAM - AEH 4200, CRNs: 40688 + 40687
Beginning painting: introduction to major directions of contemporary painting; underlying historical precedents; orientation to subjects and formal concepts using relevant materials and process. Course Information: Field Trip required at a nominal fee. Course Schedule Information: To be properly registered, students must enroll for one Lecture and one Laboratory.
ART 140: Introduction to Sculpture
Instructor TBD, MW 9-1130, ONCAM - AEH 4200, CRNs: 35222 + 35221
Instructor TBD, MW 4-630, ONCAM - AEH 4100, CRNs: 35833 + 35832
Instructor TBD, TTH 3-530, ONCAM - AEH 4100, CRNs: 39905 + 39904
Faheem Majeed: TTH 12-230, ONCAM - AEH 4100, CRNs: 39296 + 39297
The study of major directions and underlying historical precedents in contemporary sculpture. Orientation to concepts of 3-dimensionality through use of relevant processes and heuristic approaches to making. Course Information: Previously listed as AD 140. Field trips required at a nominal fee. Course Schedule Information: To be properly registered, students must enroll in one Lecture and one Laboratory.
ART 150: Introduction to New Media Arts
Instructor TBD, TTH 9-1130, ONCAM - AEH 5226, CRNs: 35223 + 35224
Instructor TBD, TTH 12-230, ONCAM - AEH 5226, CRNs: 35836 + 35835
Instructor TBD, TTH 3-530, ONCAM - AEH 5226, CRNs: 39300 + 39301
An introduction to the theory and practice of responsive arts. Through hands-on exercises, students learn to design interactive interfaces and responsive environments. Survey lectures focus on current practices and the history of new media. Course Information: Previously listed as AD 100. Extensive computer use required. Course Schedule Information: To be properly registered, students must enroll in one Lecture and one Laboratory.
ART 151: Introduction to Creative Coding in New Media Arts
Instructor TBD, MW 9-1130, ONCAM - AEH 5226, CRNs: 42792 + 42793
Instructor TBD, MW 4-630, ONCAM - AEH 3204, CRNs: 41862 + 41863
Instructor TBD, TTH 3-530, ONCAM AEH 3204, CRNs: 41864 41865
Under the professional instruction of an expert in coding languages, students will investigate the ways in which social media, data, and code have been instrumental in re-configuring the nature of social relationships in our society. Course Information: Extensive computer use required. Field trips required at a nominal fee. Students will use coding languages such as Processing, HTML, and JavaScript. Moving through beginning and intermediate levels of coding, students will explore creative new avenues of applying these tools. Students will gain skills to expand upon traditional uses of coding by aligning it with the contemporary art practices of New Media, a field in which technology and contemporary art combine. Class Schedule: To be properly registered, students must enroll in one Lecture and one Laboratory.
ART 160: Introduction to Digital Photography
Instructor TBD, MW 9-1130, ONCAM - AEH 3227, CRNs: 35226 + 35225
Instructor TBD, MW 1-330, ONCAM -,AEH 3227 CRNs: 35839 + 35838
Instructor TBD, MW 4-630, ONCAM, AEH 3227 CRNs: 36809 + 36810
Silvia Malagrino, TTH 12-230, SYNC - CRNs: 39304 + 39305
Instructor TBD, TTH 630-9, SYNC - CRNs: 39306 + 39307
Introduction to digital photography: basic familiarity with camera, photographic techniques, Photoshop, low level lighting and high end printing. Includes social, cultural, critical and aesthetic considerations of the medium. Course Information: Previously listed as AD 150. Extensive computer use required. Field trips required at a nominal fee. Fully manual Digital Camera and laptop computer with appropriate Photoshop software is required. Course Schedule Information: To be properly registered, students must enroll in one Lecture and one Laboratory.
ART 170: Introduction to Filmmaking
Instructor TBD, MW 1-330, ONCAM - AEH 3204, CRNs: 35228 + 35227
Instructor TBD, TTH 9-1130, ONCAM - AEH 3204, CRNs: 35843 + 35841
Instructor TBD, TTH 12-230, ONCAM - AEH 3204, CRNs: 39308 + 39309
Introduction to the practice, history and context of the moving image. Basic experimentation with image/sound capture and editing as related to film, video and audio. Course Information: Previously listed as AD 170. Field trips required at a nominal fee. Course Schedule Information: To be properly registered, students must enroll in one Lecture and one Laboratory.
ART 190: Social Practice: Prisons and Policing
Laurie Jo Reynolds, TTH 630-9, SYNC - AEH 5202, CRNs: 37167 + 37166
Introduces the concept of socially engaged art, a practice that blurs the line between art and life, emphasizing participation, dialogue, and action. Includes field visits and dialogue with artists. Students design and realize a public art project. Course Information: 3 hours. Previously listed as AD 190. Field trips required at a nominal fee. No previous art and studio experience is necessary for this class. Field Trips Required: Mess Hall, Dorchester Projects and Rebuild Foundation, Threewalls, Hyde Park Art Center, Experimental Station, and South Side Community Art Center, are all site-specific resources for this course. Students will visit at least two of these sites as part of their analysis and exploration of socially engaged art practices. Prerequisite(s): ENGL 160. Class Schedule Information: To be properly registered, students must enroll in one Lecture-Discussion and one Practice.
ART 190: TOPICS IN SOCIAL PRACTICE: PRISONS/POLICING
This course provides an introduction to social practice, a genre of art that depends on inquiry, dialogue, participation, and action, and takes place in connection with other people. Artists have used social practice to fill community needs, generate new social dynamics, bring attention to public space, interpret history, influence policy, provoke audiences, produce comedy, celebrate the uselessness of art, and more. Through dialogues, class experiments, and interventions, we will explore and evaluate the ways that artists intervene in society and create new structures of civic participation. Hands-on workshops will allow students to explore their own areas of interest, working individually and in groups to experiment with socially-engaged art. Students may explore any topic of their choice, but the class will focus on local case studies in prison and reentry policy. No prior experience required. This is a synchronous Zoom video class. Students must appear on camera with working video and audio since we work together in groups. Because this is a studio workshop, the attendance policy is strict. Some of the course time is spent in asynchronous studio work so we are not on Zoom too much. Please contact Prof. Laurie Jo Reynolds with questions at ljr@uic.edu. To be properly registered, students must enroll in one Lecture-Discussion and one Practice.
ART 230: Topics in Painting: Wet Bodies
Instructor TBD, MW 4-630, ONCAM - AEH 4200, CRNs: 35233 + 35232
Description: Humans are not completely autonomous in what happens to and around us. We are participants, like the rest of nature. If we think about it, bodies exceed their bounded materiality as an individual. In this course, students will be asked to consider how our bodies and actions impact the broader ecosystem, and reflect on, and investigate, bodies from an environmental and ecological perspective through painting using oil paint, ink, and other painting media and methodologies. Students will be prompted to explore water and ‘wetness' as constructs with literal, symbolic, and abstract dimensions in understanding the interrelations among various forms of permeable bodies, including avian, terrestrial, aquatic, geographic, and synthetic entities. Students will learn through a variety of life painting sessions, investigation of ecological processes which may include field trips, short videos and readings, discussions, and experimentation with diverse modes of visual thinking, such as collaging, detail rendering, mark-making, color studying...etc. Artists will likely include Ellen Altfest, Leonora Carrington, Jenny Saville, Jennifer Packer, Cecily Brown, Kwangho Lee, Doris Salcedo, Tracey Emin, Wangechi Mutu, Roni Horn, Vija Celmins, Helen Verhoeven...and more.
ART 240: Building on your Process
Faheem Majeed, TTH 9-1130, ONCAM - AEH 4100, CRNs: 35235 + 35234
Description: Students will utilize their foundational knowledge from Sculpture 140 to propose, facilitate, and build a series of sculptural projects. This course will help you cultivate your ideas and give you the tools to better understand your relationship to art. We will do this through a number of projects, discussions, trips, and critiques. In addition to studio time students will be expected to present and catalog their research and methods.
ART 250: Topics New Media Arts: Intermediate (Game Play)
Instructor TBD, MW 1-330, ONCAM - AEH 5226, CRNs: 35237 + 35236
Description:ART 250 - Topics in New Media Arts: Intermediate (Game Play)
This hands-on course offers an exploration of contemporary art works constructed as games. Games represent a rapidly emerging medium, the history of which must be analyzed through the lenses of art history, new media studies, and game studies in order to be fully contextualized. Students will discuss methods by which game authors extend the visual traditions and conceptual ideals of contemporary art into the gaming medium. In this course, students will simultaneously gain the technical skills needed to create their own games and participatory projects as well as explore different game genres including text-based games, first-person shooters, strategy games, simulators, and abstract games of chance. Students will analyze, develop, play, and even hack games in order to gain an understanding of their frameworks and programmatic strategies. The course is intended to incite an active and critical perspective on contemporary game practices in art.
(Prereq: No prior programming experience required. Laptop Required.)
ART 260: Topics in Digital Photography
Instructor TBD, MW 4-630, ONCAM - AEH 5202, CRNs: 35239 + 35238
Intermediate digital phography: specific topics designed by instructor, conceptual/contextual image making, familiarity with camera, photographic techniques, Photoshop, basic lights techniques and high end printing. Course Information: Previously listed as AD 267. May be repeated for a maximum of 8 hours. Extensive computer use required. Field trips required at a nominal fee. Prerequisite(s): Sophomore standing or above and completion of the first-year art foundation program. Class Schedule Information: To be properly registered, students must enroll in one Lecture and one Laboratory.
ART 261: Topics in Analog Photography
TBD, TTH 9-1130, ONCAM - AEH B125, CRNs: 35246 + 35240
Introduction to analog black and white photography: advance familiarity with camera, photographic techniques, printing and basic lighting. The course is an investigation of analog photography. Course Information: Previously listed as AD 268. Field trips required at a nominal fee. Prerequisite(s): Sophomore standing or above; or consent of instructor; and completion of the first-year art foundation program. Class Schedule Information: To be properly registered, students must enroll in one Lecture and one Laboratory.
ART 272: L.A. Rebellion: The Struggle for Black Liberation in Film
Instructor TBD, MW 9-1130, ONCAM - AEH 3226, CRNs: 35244 + 35243
Description: This course will examine the major figures, themes, and effects of the L.A Rebellion film movement of the 70s and 80s, as well as mapping its legacy in the larger canon in Black Cinematic practice. This is a project-based production course in which students will have the opportunity to learn theory and practice the principles of production established by African, African American, and Caribbean film students of the University of California, Los Angeles. Through video production, critique and discussion, students will explore alternative models of filmmaking developed in direct opposition to major themes in narrative, style, and distribution of mainstream American cinema. We will broach these topics through screenings of such as Haile Gerima, Julie Dash, readings, and guest visitors.
ART 312: Topics in Drawing III
Dan Peterman, MW 9-1130, ONCAM - AEH 5215, CRNs: 35865 + 35252
Topics directed by the instructor; may include individual study and related readings in contemporary art; further investigation and extended applications in drawing. Course Information: Previously listed as AD 304. May be repeated for a maximum of 8 hours. Field trips required at a nominal fee. Prerequisite(s): ART 212; and junior standing or above; or consent of instructor. Class Schedule Information: To be properly registered, students must enroll in one Lecture and one Laboratory.
ART 330: Topics in Painting: Translations
Instructor TBD, TTH 3-530, ONCAM - AEH 4200, CRNs: 35254 + 35253
Albert Camus jotted down in his notebook that "The problem of art is a problem of translation." This course will explore moving between figuration and abstraction through the medium of painting and its histories. We will be thinking about the act of translation; translating histories, memory and image. We will approach meaning making by breaking down and reworking what we think we know and how we see examining our own personal filters.
ART 350: 3D Space II: Animation
Sabrina Raaf, MW 4-630, ONCAM - AEH 5226, CRNs: 36813 + 36814
Description: ART 350 - 3D Space II: Animation This course provides an introduction to 3D animation. Students will develop a multi-purpose skill set that may be used for innovative content creation in filmic animation and compositing, pre-visualization of sculptural installations and design objects, biomedical visualization, virtual world/ game design, and other cross-media explorations. Techniques for creating animated visualizations of 3D data are explored. Traditional, linear and non-linear animation techniques will also be introduced. (Prereq: 3D Space I, or Consent of Instructor. Laptop Required.)
ART 360: I.I.I. - Intuition, Imagination, Intention
Instructor Silvia Malagrino, TTH 3-530, SYNC, CRNs: 35258 + 35257
Description: This is a course about making art without fear. We will explore questions about art, and questions that matter to yourself as a citizen of the world. The course will address diverse forms of representation in art - to both represent reality, and to explore the intricacies and the fancies of the imagination. It is a production course. Addressing conventional and unconventional methods of image making, the course focuses on experimentation in photography and in any medium. The strategies that can be used for the creative work are open ended. You could follow any process of art making, formal and conceptual, that suits your expressive needs at this time. One of the goals of this course is to support your creative growth as you question, take risks, work, play, and critically engage in making art.
ART 372: Radical Drabble: Experiments in Narrative Filmmaking
Jennifer Reeder, MW 1-330, ONCAM - AEH 3226, CRNs: 35264 + 35263
Description:This advanced project-based course will emphasize storytelling across various forms of filmmaking. The term "Drabble" is used to describe very short works of fiction in literature (usually of a precise word count). Another similar term is Flash Fiction and the best example of this is, "For sale: baby shoes, never worn," which is a six-word story, popularly attributed to Ernest Hemingway, although the link to him is unlikely. Enrolled Students will make five short films over the semester and learn advanced techniques of narrative film production including, screenwriting, working with actors and distribution.
ART 374: Animation Cinematography
Instructor TBD, TTH 9-1130, ONCAM - AEH 3226, CRNs: 40692 + 40691
Description: This class is designed to teach students how to create 2D and 3D animations through the lens of commonly used cinematography techniques. Using digital 2D animation programs and the free and open-source application Blender, students will be assigned a series of exercises that utilize cinematic features to create camera movements and angles that create mood, develop narrative, and convey ideas. This class will also familiarize students with the basics of 2D and 3D animation, storyboarding, character rigging, lighting, texturing, and other facets that serve various individual practices. Previous experience with fundamental animation and film/video techniques is strongly suggested, a functioning laptop is required.
ART 382: Thinking is Making
Nate Young, MW 1-330, ONCAM - AEH 4100, CRNs: 40695 + 40694
Description: This course, although open to all interested students, focuses primarily on juniors who will be taking their senior year of thesis in the fall/spring 2024-5. This course is meant to prepare students for what it is and means to have a studio art practice on your own terms. How do you develop meaningful and unique ideas, content, and material production, that stems from your interests, values, and curiosities. In this class students generate their own projects and make, using various mediums. This class invests time in thinking together about what is Art? How do artists function in our contemporary climate? And What does a critical, aesthetic, socially and historically sensitive art practice look and feel like for you?
ART 402: Senior Projects: Thesis
Instructor Beate Geissler/Iris Bernblum, TTH 12-230, ONCAM - AEH 3226, CRNs: 35278 + 35277
Exhibition/thesis production and seminar culminating in an exhibition/final thesis show for graduating seniors. Course Information: Previously listed as AD 453. Prerequisite(s): ART 401; and senior standing or above; and consent of the instructor. Class Schedule Information: To be properly registered, students must enroll in one Laboratory-Discussion and one Conference.
ART 457: Interactive 3D: Expanded Cinema and Virtual Performance
Instructor TBD, TTH 3-530, ONCAM - AEH 5226, CRNs: 35286 + 35285
This advanced studio course utilizes the expansive modes that emerging media technologies allow artists to interact, perform, and synthesize artworks through virtual and 3D environments. The course will focus on how bodies manifest and engage differently through video streaming, 3D animation, video games, virtual reality, custom avatars, and expanded cinematic technologies. Questions about how we choose to replicate our bodies into the virtual and how (in turn) this act of replication and expansion informs our sense of self are critically important. Virtualizing technologies are altering the relationship between the 'individual' and society in ways that are as fascinating as they are complex. Through lectures, discussions, workshops, readings, and screenings, this course will address subjects of body, queerness, gender, sexuality, labor, and how user identities fuse with the technical medium themselves. that present to the student many of these technologies and topics mentioned.
ART 520: Artists/Artists’ Writing Art
Instructor: TBD, M 4-630, ONCAM - AEH 3226, CRNS: 36250 + 36249
Developments and current issues in contemporary design, studio and media arts: major philosophies, debates, and social/environmental aspects (may include visiting lecturers, critics, and discussants). Course Information: Previously listed as AD 502. Must be repeated for a minimum of 16 hours. Prerequisites: Graduate standing and consent of the School, graduate faculty committee, and the student's advisor. Class Schedule Information: To be registered properly, students must enroll in one Lecture and one Discussion.
ART 520: Nostalgia Today
Instructor: TBD, F 9-1130, ONCAM - AEH 3226, CRNS: 36251 + 36252
Developments and current issues in contemporary design, studio and media arts: major philosophies, debates, and social/environmental aspects (may include visiting lecturers, critics, and discussants). Course Information: Previously listed as AD 502. Must be repeated for a minimum of 16 hours. Prerequisites: Graduate standing and consent of the School, graduate faculty committee, and the student's advisor. Class Schedule Information: To be registered properly, students must enroll in one Lecture and one Discussion.
Section information text: Seminar title: "Nostalgia Today, or, You Can Never Go Back" The class critically examines the use of nostalgia, or a nostalgic impulse in artistic production. How have artists manipulated, expressed and given form to the desire to return home, understand and articulate the past, and restore dignity of entire groups of people? Taking cues from texts like Walter Benjamin's One-Way Street, Rogue Archives by Abigail de Kosnik, and Ina Blom's recently published essay Disaster Memory, among others, the course would look at nostalgia as a tool, and the methods by which it's evoked and contained in art. De Kosnik and Ina Blom's texts address how cultural phenomena, storytelling, and media are translated, archived, and maintained across technologies and formats. Benjamin is responding to the shock of rapid change in the modern era. A fourth text introduced to the class will be Benjamin HD Buchloh’s essay, Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting, which notes the ironic use of the prefix neo-when addressing the desire to return to the past. As the title suggests, Buchloh is also scoping out the authoritarian character of representation, and representational politics. Nostalgia has very immediate social and political implications (historical erasure in the US, monument removal, rollbacks of supreme court rulings, and the abundance of blockbuster cinema about toy franchises), seeing how that takes form, e.g., visual art, a relational piece, a social sculpture, or psychogeography, feels very compelling. Contemporary artist referenced may include: Shabtai Pinchevsky, Nate Young Jeremy Deller, Arthur Jafa, Hito Steyerl, Dara Birnbaum, Adam Curtis, Walid Raad, Mike Kelley, Emily Jacir, Irena Haiduk, Gerhard Richter, Pierre Huyghe, Shimabuku, and Hideaki Anno. I'd make examples of neoclassical art and some of the nostalgic impulses of the Renaissance and refer to Hip Hop as a culture with abundant use of nostalgia in its 50-year history.
ART 540: Decarceration in Theory and Practice
Instructor Laurie Jo Reynolds, M 630-8, ONCAM - JH 209, CRNs: 44164(CLJ542)
The growing political will to end mass incarceration has led to policy commitments to decarcerate, yet there is no policy or advocacy roadmap for doing so. This course examines the theory and process of decarceration through local case studies. Course Information: Same as ART 540. Field trips required at a nominal fee. No previous art experience is necessary for this class.
Section information text: The growing political will to end mass incarceration has led to federal and state commitments to “decarcerate.” Yet, there is no policy roadmap for releasing people or closing prisons. Decarceration requires a mathematical strategy: judges, prosecutors, law enforcement, governors, and legislators must either reverse drivers of the prison population or speed up releases. Truly sustainable decarceration would also protect people in poor and disenfranchised communities from both crime and incarceration, and address the nearly insurmountable barriers faced by people returning from prison. What can be achieved depends on the interplay of political forces, media attention, advocacy campaigns, and the way criminal justice topics are framed in the public sphere by policy operatives and cultural activists. This course examines two case studies in decarceration, the long-term impact of a 2017 Illinois Criminal Justice Information Authority Task Force to reform sex offense laws, and efforts to create discretionary parole for people with life and virtual life sentences. This is a professional practice course. Students will follow and be offered the opportunity to practice public policy advocacy. This is an in-person on campus class. (However, certain classes will be scheduled for synchronous Zoom video.) Note: This is not a hybrid course. Please contact Prof. Reynolds at ljr@uic.edu with questions. Course Information: Cross Listed with CLJ 542.
**ART GRADUATE LEVEL COURSES BELOW**
IDEA 120: Digital Practices in Design and Arts
Instructor Tiffany Funk, MW 930-1045, ONCAM - AEH 5202, CRNs: 41677 + 41676
Digital media - Instagram photos, ChatGPT prompts, TikTok stories, Google searches, music and video streaming services, YouTube "shorts," Reddit threads, and WhatsApp messages - forms the vast majority of the world's daily media diet. Protests, social justice movements, and political campaigns are won or lost through online organization and the dissemination of viral digital media. In the vast interconnected global village of the internet, who are we in relationship to the digital media we create and consume? What critical skills do we need to effectively and ethically engage in creative digital endeavors and social movements in this media landscape?
This digital practice course explores digital media as an art form, engaging with cultural and technology studies, and into an interactive, collaborative class. The course is oriented toward making, writing, building and identifying relevant skills for a digital media toolkit and historical and theoretical introductions to practices that will be useful for creative and critical thinkers working across disciplines.
IDEA 322: Introduction to Arts-Based Research Methods
Instructor Tiffany Funk, MW 12-230, ONCAM - AEH 5202, CRNs: 47509 + 47510
Art is seen as the ability to change the world, not by money or force, but by orientation, by radically transforming the 'sensible,' or sensory, reality of the eye, ear, taste, touch and smell, which unavoidably results in a change in ideas, understanding and insight. It may be about distancing, it may be about getting closer; sometimes it is irony or camp, sometimes it is a serious attempt to find illuminating concepts and their verbalisations and sometimes it is the need to create new myths or just tell stories." (Juha Varto, Artistic Research Methodology, 2014)
All artists use some form of research to create artwork, whether their process is intuitive or empirical. How might you introduce different methods of research into your own practice? How might you make use of available archives, design surveys, or develop with people from different disciplinary backgrounds? What are the advantages of group projects, and what are those of individual arts-based research? This course is an overview of arts-based research as an interdisciplinary, humanistic, and qualitative research methodology. Emphasis will be placed on applied, practice-led research in realization and refinement of interdisciplinary art projects.
IDEA 410: Interdisciplinary Capstone for IDEA Majors
Hannah Higgins, T 12-230, ONCAM - AEH 3227, CRN: 45336
A sustained practicum in the production, discussion and theorization of work produced by seniors (in the last two semesters) of IDEA coursework. Course Information: May be repeated to a maximum of 8 hours. Field work required.
ART 110: Introduction to Art Education
William Estrada: TTH 3:30p-4:45p, ON CAM - BSB 211 CRNs: 46493 + 46494
Introduction to practical and theoretical perspectives in art education. Students will be introduced to methods of interpretation and meaning making, and learn how art educators work in collaboration with diverse populations. Course Information: Extensive computer use required. Field trip required at a nominal fee. Students are not required to have a background in art education. Class Schedule Information: To be properly registered, students must enroll in one Lecture-Discussion and one Discussion
ART 210: Understanding Curriculum, Development, and Learning in Art Education
Instructor William Estrada, TTH 11-140, ONCAM - AEH 5202, CRNs: 41866 + 41867
Instructor TBD, TTH 11-140, ONCAM - AEH 5202, CRNs: 41866 + 41867
Contextualizes methods of teaching art within histories of art and education. Design and teach curriculum that emphasizes contemporary art, cultural diversity, adolescent development and community issues. Course Information: Field work required. Prerequisite(s): ART 201. Class Schedule Information: To be properly registered, students must enroll in one Lecture and one Laboratory-Discussion.
ART 484: Educational Practicum with Seminar I
Instructor: Karyn Sandlos, T 530-8, HYBRID - AEH 5202, CRNs: 42822 + 42821
The first half of a two-segment sequence of practice teaching, including seminar, to meet certification requirements for teaching in grades nine through twelve. Course Information: Graduate credit only with approval of the School of Art and Art History. Field work required. Prerequisite(s): Grade of B or better in ART 210 and Grade of B or better in ART 310 and Grade of B or better in ART 410; and senior standing or above; and approval of the department and approval of the Council for Teacher Education. Class Schedule Information: To be properly registered, students must enroll in one Lecture-Discussion and one Practice.
ART 485: Educational Practicum with Seminar II
Instructor: Karyn Sandlos, T 530-8, HYBRID - AEH 5202, CRNs: 42824 + 42823
The second half of a two-segment sequence of practice teaching, including seminar, to meet certification requirements for teaching in grades nine through twelve. Course Information: Graduate credit only with approval of School of Art and Art History. Field work required. Prerequisite(s): Grade of B or better in ART 210 and Grade of B or better in ART 310 and Grade of B or better in ART 410; and senior standing or above; and approval of the department and approval of Council for Teacher Education. Class Schedule Information: To be properly registered, students must enroll in one Lecture-Discussion and one Practice.
Visit the Art History website for Fall 2022 courses:
https://arthistory.uic.edu/courses/current-course-flyers/
MUSE 400: Memory Activism, Alternative Archives and Social Justice
Dr. Maria Eugenia López-Garcia, T, 3:30–6:00pm, ONCAM - HH 303, CRN: 45574
This seminar examines the politics of memory and commemoration, focusing on human rights issues, historical erasure, and justice mobilization. From the decades of activism of Las Madres de Plaza de Mayo in Argentina to the feminist movement “Ni Una Mas” in Mexico to the global demonstrations to remove monuments to slavery and colonialism, we will explore the role of memory as a site of struggle for justice, healing, and liberation. In this process, we will consider questions such as the following: How do social movements shape, construct and use memory? What types of archives have emerged in the waves of activism for social justice? What is the logic and practice of memory activism? What are the strategies of visibility and representation emerging from collective memory? In short, this course will especially emphasize research on the use of memory practices and cultural repertoires by marginalized communities, activists, archivists, museum workers, and artists as means for social and historical justice.
**Same as MUSE 546. Undergrads should register with this MUSE 400 CRN. Graduate students should register for MUSE 546.
MUSE 400: Museums in Theory
Instructor: Dr. Lucy Mensah, W 3-530, ONCAM - HH 106, CRN: 42065
Investigation of a problem, topic or issue relevant to the interdisciplinary field of Museum and Exhibition Studies. Content varies. Course Information: 3 to 4 undergraduate hours. 4 to 5 graduate hours. May be repeated for credit. Extensive computer use required.
MUSE 400: Monuments/Memorials/Racial Justice
Instructor: Maria Lopez Garcia, TH 12-230, ONCAM - HH 106, CRN: 44151
Investigation of a problem, topic or issue relevant to the interdisciplinary field of Museum and Exhibition Studies. Content varies. Course Information: 3 to 4 undergraduate hours. 4 to 5 graduate hours. May be repeated for credit. Extensive computer use required.
MUSE 400: Publishing Fwd:Museums Journal
Instructor: Therese Quinn, TH 330-6, ONCAM - HH 106, CRN: 45433
Investigation of a problem, topic or issue relevant to the interdisciplinary field of Museum and Exhibition Studies. Content varies. Course Information: 3 to 4 undergraduate hours. 4 to 5 graduate hours. May be repeated for credit. Extensive computer use required.
Section information text: This seminar will produce Fwd: Museums Journal - Power/Potential 2024, a peer-reviewed journal that features research, essays, interviews, reviews, artwork, and interventions. Students participate in all aspects of production—reviewing submissions, editing, design, and publicity. Everyone receives a copy and is invited to submit artwork and writing to the issue. Topics may include: Institutions; Museum hierarchies; Work experiences; Pay transparency; Exhibits as catalysts for change; Carceral logic in museums; Accessibility;and more. Check out the full Call for Submissions on IG @fwd_museums and at: fwdmuseumsjournal.weebly.com
MUSE 400: Black History/Archival Praxis
Instructor: TBD, F 11-130, ONCAM - HH 303, CRN: 44677
Investigation of a problem, topic or issue relevant to the interdisciplinary field of Museum and Exhibition Studies. Content varies. Course Information: 3 to 4 undergraduate hours. 4 to 5 graduate hours. May be repeated for credit. Extensive computer use required.
Section information text: Description:This course will introduce students to varying methods and theories in archival practice through engaging with legacies and stories in Black History with particular attention to Black archival spaces in Chicago and the broader world. Students will learn how archival praxis can be implemented as a fruitful and valuable methodological body to explore varying aspects of marginalized histories and material culture. Students will complete an individual project exploring some facet of Black History through the use of archival methodologies or theories. There will be work to increase student familiarity with major Black archival spaces in the USA and how to access their materials. Several of the classes will be held off-site at the South Side Community Art Center where students will have the opportunity to work hands-on with archival materials and to develop archival skills. Some of the course topics include: the archive as a research tool, archival research as a creative practice, archives as didactics of history, contemporary archiving in our lives, and Black-centered archival work.
MUSE 542: Exhibition Practices
Dr. Lucy Mensah, T 330-6, ONCAM - HH 106, CRN: 42066
Core course in exhibition making history and practices. Exposure to the mechanics of preparing exhibitions in physical and virtual environments; exhibition planning, design, management, and marketing. Course Information: Previously listed as AH 542. Prerequisite(s): Approval of the Department.
MUSE 544: Public Engagement
Instructor: TBD, M 6-830, ONCAM - HH 303, CRN: 42067
Development of methods of audience and public interaction with exhibiting institutions and forms. Includes practicum in publicity, promotion, audience-development assessment. Course Information: Previously listed as AH 544. Prerequisite(s): Approval of the Department.
Section information text: Course Description: Students in this course will learn approaches and methods for impactful interactions between cultural institutions and the public. Collectively and individually, students will be invited to explore the publics and themes they are most interested in. Throughout the semester, there will be opportunities for students to produce and evaluate their own public programs, in addition to opportunities to perform community-engaged work with local organizations. Themes for this course include: social impact public programs, youth and family engagement, wellness, and fundraising and public programs.
MUSE 546: Monuments/Memorials/Racial Justice
Mensah, W 3-530, ONCAM - HH 106, CRN: 42258
This seminar examines the politics of memory and commemoration, focusing on human rights issues, historical erasure, and justice mobilization. From the decades of activism of Las Madres de Plaza de Mayo in Argentina to the feminist movement “Ni Una Mas” in Mexico to the global demonstrations to remove monuments to slavery and colonialism, we will explore the role of memory as a site of struggle for justice, healing, and liberation. In this process, we will consider questions such as the following: How do social movements shape, construct and use memory? What types of archives have emerged in the waves of activism for social justice? What is the logic and practice of memory activism? What are the strategies of visibility and representation emerging from collective memory? In short, this course will especially emphasize research on the use of memory practices and cultural repertoires by marginalized communities, activists, archivists, museum workers, and artists as means for social and historical justice.
**Same as MUSE 400. Graduate students should register with this MUSE 546 CRN. Undergrads should register for MUSE 400.
MUSE 546: Memory Activism, Alternative Archives and Social Justice
Dr. Maria Eugenia López-Garcia, T, 3:30–6:00pm, ONCAM - HH 303, CRN: 47138
This seminar examines the politics of memory and commemoration, focusing on human rights issues, historical erasure, and justice mobilization. From the decades of activism of Las Madres de Plaza de Mayo in Argentina to the feminist movement “Ni Una Mas” in Mexico to the global demonstrations to remove monuments to slavery and colonialism, we will explore the role of memory as a site of struggle for justice, healing, and liberation. In this process, we will consider questions such as the following: How do social movements shape, construct and use memory? What types of archives have emerged in the waves of activism for social justice? What is the logic and practice of memory activism? What are the strategies of visibility and representation emerging from collective memory? In short, this course will especially emphasize research on the use of memory practices and cultural repertoires by marginalized communities, activists, archivists, museum workers, and artists as means for social and historical justice.
**Same as MUSE 400. Graduate students should register with this MUSE 546 CRN. Undergrads should register for MUSE 400.
MUSE 546: Black History/Archival Praxis
Instructor: TBD, F 11-130, ONCAM - HH 303, CRN:46463
Investigation of a problem, topic or issue relevant to the interdisciplinary field of Museum and Exhibition Studies. Content varies. Course Information: 3 to 4 undergraduate hours. 4 to 5 graduate hours. May be repeated for credit. Extensive computer use required.
Section information text: Description:This course will introduce students to varying methods and theories in archival practice through engaging with legacies and stories in Black History with particular attention to Black archival spaces in Chicago and the broader world. Students will learn how archival praxis can be implemented as a fruitful and valuable methodological body to explore varying aspects of marginalized histories and material culture. Students will complete an individual project exploring some facet of Black History through the use of archival methodologies or theories. There will be work to increase student familiarity with major Black archival spaces in the USA and how to access their materials. Several of the classes will be held off-site at the South Side Community Art Center where students will have the opportunity to work hands-on with archival materials and to develop archival skills. Some of the course topics include: the archive as a research tool, archival research as a creative practice, archives as didactics of history, contemporary archiving in our lives, and Black-centered archival work.
MUSE 546: Publishing Fwd:Museums Journal
Instructor: Therese Quinn, TH 330-6, ONCAM - HH 106, CRN: 46464
Investigation of a problem, topic or issue relevant to the interdisciplinary field of Museum and Exhibition Studies. Content varies. Course Information: 3 to 4 undergraduate hours. 4 to 5 graduate hours. May be repeated for credit. Extensive computer use required.
Section information text: This seminar will produce Fwd: Museums Journal - Power/Potential 2024, a peer-reviewed journal that features research, essays, interviews, reviews, artwork, and interventions. Students participate in all aspects of production—reviewing submissions, editing, design, and publicity. Everyone receives a copy and is invited to submit artwork and writing to the issue. Topics may include: Institutions; Museum hierarchies; Work experiences; Pay transparency; Exhibits as catalysts for change; Carceral logic in museums; Accessibility;and more. Check out the full Call for Submissions on IG @fwd_museums and at: fwdmuseumsjournal.weebly.com
MUSE 582: Supervised Internship in Museum and Exhibition Studies
Therese Quinn, Day, Time, Location: Arranged, CRN: 43972
Practical supervised experience in institutions serving the visual arts. Placements in museums; community arts centers; college, commercial, or non-traditional galleries; public agencies, and commercial and not-for-profit sites. Course Information: Satisfactory/Unsatisfactory grading only. Previously listed as AH 582. Prerequisite(s): Approval of the Department.
MUSE 596: Readings in Museum and Exhibition Studies
Therese Quinn, Day, Time, Location: Arranged, CRN: 43973
Individually planned readings on selected topics under the supervision of a faculty member. Course Information: Prerequisite(s): Consent of the instructor.
MUSE 597/598: Project and Thesis Research
Therese Quinn, W, 2:00–4:30pm, ONCAM - HH 303, CRN: 43536 + 43537
Capstone project appropriate to area of study, developed in consultation with graduate advisor. Projects may cover areas of visual exhibition or professional practice that fall outside traditional boundaries of scholarly research. Course Information: Satisfactory/Unsatisfactory grading only. May be repeated to a maximum of 8 hours. Previously listed as AH 597. Extensive computer use required. Prerequisite(s): Approval of the Department.
Individual research under faculty direction. Course Information: Satisfactory/Unsatisfactory grading only. May be repeated to a maximum of 8 hours.