Graduate Studies Electives

Overview

The division of Graduate Studies offers studios and seminars designed to provide students with opportunities for interdisciplinary study and the exploration of issues and practices of interest to advanced-level students in all disciplines. The courses provide opportunities to:

  • explore areas of interest beyond program requirements
  • collaborate on projects with students from diverse backgrounds
  • connect with the larger graduate student population
  • ground your own studio explorations in the context of contemporary theory and practice

Not all of the following courses are offered every year, but this list gives a sense of the kinds of questions and conversations supported by the Graduate Studies curriculum. All GS electives are open to any graduate student, without prerequisites.

Courses

  • GRAD-059G

    ART & DESIGN: INTERDISCIPLINARY COLLABORATION IN THEORY AND PRACTICE
    Many critics have argued that artists and designers have been used as exemplary models of a newly formed "nomadic," "creative," "interactive," or "casual" workforce. At the same time, collaboration has become valorized by many cultural and educational institutions. Given this scenario, we will ask whether collaboration has arrived at some neutral post-ideological state. Has collaboration ossified into a genre? Is collaboration a new name for the 90s corporate buzzword synergy, the symptom of some administrative impulse? Or does it express an emancipatory desire for something other than existing artistic and political structures? This course creates a forum to question whether the greater visibility of collaboration in art and design in recent years can have any critical purchase on perennial questions of authorship, agency, ownership, and value. We experiment with techniques to reinvest some kind of radical possibility (aesthetic, political, social) into the concept of collaboration as we develop our own ideas through discussion and practical application.
    We chart the relations between cultural producers and society at large, and consider collaboration as that which names varied and often conflicting practices. And we explore what these practices have to say about how art and society is produced, reproduced, and potentially re-imagined. The contested meaning of the term collaboration and how those practices are valued in their ideological, economic, ethical, and political dimensions will be our focus.
    This course involves critical and historical readings on relationality, performativity, labor theory, and political theory. Through case studies in collaborative art/design practices, we broach topics such as site specificity, public art, and artist collectives. Two visits to New York to meet with practitioners and visit exhibitions are scheduled, in addition to visits with artists and designers around Providence, and three short collaborative projects.
    Graduate elective
  • GRAD-210G

    ARTISTS' RESEARCH: THEORY AND PRACTICE
    This course will introduce art and design graduate students to empirical, primarily qualitative, and arts-based research methodologies prevalent in contemporary arts and arts education research practice. Students will be introduced to the concept of research methodology and the various ontological and epistemological paradigms that inform diverse methodologies. During this methodological exploration, students will learn about the research process from identifying a research topic through a reflection on personal interests and experiences and a critical review of literature, to situating the research problem within a body of literature and conceptual framework, with the concomitant objective of refining students' research literacy skills. Students may develop a research design for their thesis or a practice based study of teaching as a course project.
    Estimated Materials Cost: $100.00
    Graduate Elective
  • GRAD-222G

    CRITICAL CARTOGRAPHY
    This graduate seminar explores ideas of PLACE, DISPLACE, and STATE, the latter being a place; a political territorial identity; and the particular condition someone or something is in at a specific point in time.
    The course is about the art, science, and politics of cartography as well, and the processes of social construction that result in maps with the power to reveal, create, legitimize, falsify, and manipulate relationships between place, identities, and state. Through theoretical readings, case studies, and broad-ranging forms of critical map-making that use Rhode Island as the subject of study, we will explore what self-initiated or forced displacement of numbers of people - and the ideas, artifacts and power structures that migrate or manifest in their wake - has meant over time. And, we will ask what it means today in a world where conflict, persecution, environmental change, and perceived economic opportunity are driving the movement of populations on a scale previously unknown, and triggering a reframing of displacement debates where renewed and heightened fears of vulnerability and destabilization are overshadowing aspirations of inclusivity, cultural richness, and global citizenship.
    Estimated materials cost: $50.00
    The course welcomes students from all departments.
  • GRAD-213G

    CRITICAL PEDAGOGY COLLOQUIUM
    Each of us talks because we are in the same place: we co-loquate. "Colloquium" is an unpretentious term, unlike the term "dialogue." Jacques Lacan
    The exception explains the general and itself. And if one wants to study the general correctly, one only needs to look around for a true exception. It reveals everything more clearly than does the general. Endless talk about the general becomes boring; there are exceptions. If they cannot be explained, then the general also cannot be explained. The difficulty is usually not noticed because the general is not thought about with passion but with a comfortable superficiality. The exception, on the other hand, thinks the general with intense passion. Soren Kierkegaard
    Our focus will be reflective and dynamic teaching in the context of college/university art and design education. Our topics and considerations will be relevant to more broadly-based ideas of teaching and learning in different settings, as well as ways that pedagogy has been infused discursively in contemporary art and design practices. I look forward to the opportunity to explore with you, deeply and authentically, ideas and issues, strategies and tactics, theories and practices of contemporary pedagogy and teaching through the lens of your own Wintersession 2016 teaching.
    Some Colloquiium meetings will include guests who will discuss their work and insights on teaching, learning, and pedagogy. I expect that our conversations will flow between theory and practice, pedagogical concepts and direct experience, actionable information and speculative questions as learners, teachers, artists, designers, and writers. Our format will be conversational and colloquial; you are invited and expected to participate and shape the content and character of our work together. Selected readings will bring focus to our work together.
    You are required to attend all five sessions. If you are ill or unable to attend for some other legitimate reason, kindly let me know before our weekly meeting. At the conclusion of the Colloquium, you will receive either a Satisfactory or Unsatisfactory evaluation.
    "I do not think that I will give you my teaching in the form of a pill; I think that would be difficult." Jacques Lacan
  • GRAD-155G

    ENCOUNTERING THINGS
    This class explores the ways that objects and bodies come into contact with one another, asking how objects adorn, articulate, equip, augment, and constitute the person. Our exploration follows three tracks: we examine artifacts from the fields of design, fashion and medical engineering, as well as experimental propositions from the visual and conceptual arts, literature and film; we pair these case studies with scholarship that critically engages issues of embodiment and material agency; and we attend to the political and ethical debates raised by dynamic conceptions of posthuman bodies. Interdisciplinary readings across the humanities and social sciences include: Appadurai, Freud, Haraway, Hayles, Heidegger, Latour, Marx, Miller, and Scary.
    Graduate elective - seminar
  • GRAD-142G

    ETHICS OF HUMANITARIAN DESIGN
    Designers and artists have become central to projects of "humanitarian help" across the world. Whether they are designing refugee camps, village schools, water filtration systems, or textiles, they are seen to be critical in confronting challenges of poverty. Yet as form-givers, designers and artists not only make physical objects, but also shape our understanding of the problem at hand as well as the profile of the person in need. This power to represent, to define both the subject and the context, demands that designer and artist should not only be technically proficient and aesthetically capable, but also be able to think about the ethics of intervention.
    Whose convenience do we design for? What critical aspects of the situation, be they historical, cultural, linguistic, geopolitical, do we censor with our designs? Do we make others' problems appear in need of our solutions? If we take these questions as a starting point, what sort of knowledge, what sort of sensibility is needed to lean to talk, to see, to translate, across difference, without turning whom we seek to help into convenient caricatures? Can art and design only provide stopgap solutions, leaving larger political and policy discussions for other disciplines? Or can they address questions beyond the object and change our understanding of the problem itself.
    This course asks these hard questions and unpacks them with the help of rigorous theoretical thinking and historical study. This is not a "how-to" course. Nor will we use ready-made definitions of ethics to endorse convenient and familiar ways of working. This is a course about thinking. We slowly shape an understanding of ethics as a way of introducing reflective friction in our modes of operation and learn to criticize what we must simultaneously use. Course material includes mind-opening historical and theoretical texts, uncomfortable fiction, and fraught films.
    Graduate elective - seminar
  • GRAD-2312

    FROM IMMATERIAL TO MATERIAL
    This course provides students with the skills needed to fully transform their 2D rendering and drafting skills into effective 3D forms. Through the use of large stationary machines, power tools, and hand tools, individuals will develop the ability to communicate their design skills into highly evolved, tangible forms. Contemporary joinery methods, efficient shaping, and construction schemes will be systematically delineated. Additionally, numerous hardware, fasteners, surface treatments, and finishes will be thoroughly covered throughout this class.
    Graduate elective
    Open to Seniors and above
  • GRAD-078G

    FULL SCALE
    This course focuses on the graduate level inquiry of wood-based construction designs and commensurate skills. Lighting and upholstery techniques as well as outside vendor protocols may be employed depending on the graduate student's design needs. Graduate students develop a multi-lateral skill set applicable to their area of study. Thesis concepts are often explored within this class. Students concentrate, in sequence, six weeks of studio-based learning of numerous techniques and skills followed by six weeks of a dedicated, full-scale, designed and executed piece. Located in the Center for Integrated Technologies (CIT), the Graduate Studies Wood Studio focuses on contemporary and traditional joinery, shaping, and bent lamination construction techniques. Surface treatments and finishing methods for metal and wood also will be covered throughout this class.
    Graduate elective - studio
  • GRAD-220G

    GEOGRAPHY OF THE CYBORG: THE 'POST-HUMAN' AS A COLLAGE
    Through the examination of advances in societal communication within the past century, the human can be addressed as a collage and cyborg. By viewing the psychological body as appropriated cultural transmissions, we can see that humans choose how they compose themselves and their surroundings. As we study these landmarks and changes, one can point at indicators of what exactly it means to be a human existing in this contemporary landscape. This class will be broken down into three sections: Politics, Appropriation, and Mediation. Students research how they compose themselves: through the platforms by which they collect information to whom they subscribe to via social media. By appropriating source images as well as creating new symbols, students create a series of pieces that are narrative-based to convey how they mediate and navigate their landscapes. This is a studio-based course with a heavy emphasis on research methodologies, critique, and discussion.
  • GRAD-152G

    GROUP CRITIQUE / CRITICAL DIALOGUES
    This course serves as a forum for extended group critiques of the ongoing and self-initiated projects of its participants. While different disciplines have differing formats for critique, its practice in this class is not taken for granted. The course speculates on critique as a form - the crit, critique, and criticality as techniques. We trace our current conceptions of critique back to historic precedents in Critical Theory, the Situationist International, and Institutional Critique, and we examine how those strategies bear out today.
    In general, studio critiques are open-ended, generous, and rigorous analyses among peers. Critiques are a means of examining the conscious and unconscious intentions in your work and understanding how those intentions are read by a viewer. Through group critiques students develop critical skills that help them articulate the conceptual and formal premises of their work. The goals of this course are to foster a cogent and critical understanding of your practice, to aid you in the elaboration and illumination of your ideas and ongoing work, and to provide a site where a culture of critical inquiry and conversation across disciplines can take place.
    The seminar portion of the class includes examinations of practitioners tailored to fit the interests of participating students. In addition we examine readings by Friedrich Nietzsche, Theodor Adorno, Walter Benjamin, Michel Foucault, Jacques Rancière, Peggy Phalen, Juli Carson, Andrea Fraser, Alexander Alberro, and others.
    Graduate elective - studio
  • IDISC-2140

    INTRODUCTION TO DIGITAL MAKING
    This five-week workshop at the beginning of the fall, Wintersession, and spring semesters (1-credit each)as well as a end of semester project which gives students a well-rounded introduction to the use of digital fabrication tools and an overview of their applications in both art and design. The course also functions as a gateway to Co-Works, RISD's cross-departmental fab lab and experimental workspace; successful completion of the workshop grants access beyond the time frame of the course.
    Co-Works features digital tools such as 3D printers, laser cutters, 4-axis CNC mill, plotter cutter, CNC hot wire foam cutter, CNC embroidery machine, UV printer that applies color to 3D surfaces, and related software. Co-Works also includes more "traditional" fabrication technologies such as vacuum formers, large format 2D printing, industrial sewing machines, and sergers. Through technical demos and class projects, students are trained in the proper use of many of these tools as time and interest dictates.
    The course explores the theoretical implications of this technology and situates it within the context of contemporary art and design practices. Through slide presentations, readings, class discussions, and visiting artist lectures, students are encouraged to think critically about the role of digital tools in contemporary art and design and in their own practices. Students develop hybrid approaches incorporating both "traditional" and "new" processes. Class projects encourage experimentation, innovation, and interdisciplinary collaboration as well as provide opportunities for individual exploration. No prior experience with 3D modeling or digital fabrication is required. Participation from all majors and departments is strongly encouraged.
    This course is open to all undergraduate students. Graduate students can register in the crosslisted course GRAD-214G.
  • IDISC-2140

    INTRODUCTION TO DIGITAL MAKING
    This five-week workshop at the beginning of the fall, Wintersession, and spring semesters (1-credit each)as well as a end of semester project which gives students a well-rounded introduction to the use of digital fabrication tools and an overview of their applications in both art and design. The course also functions as a gateway to Co-Works, RISD's cross-departmental fab lab and experimental workspace; successful completion of the workshop grants access beyond the time frame of the course.
    Co-Works features digital tools such as 3D printers, laser cutters, 4-axis CNC mill, plotter cutter, CNC hot wire foam cutter, CNC embroidery machine, UV printer that applies color to 3D surfaces, and related software. Co-Works also includes more "traditional" fabrication technologies such as vacuum formers, large format 2D printing, industrial sewing machines, and sergers. Through technical demos and class projects, students are trained in the proper use of many of these tools as time and interest dictates.
    The course explores the theoretical implications of this technology and situates it within the context of contemporary art and design practices. Through slide presentations, readings, class discussions, and visiting artist lectures, students are encouraged to think critically about the role of digital tools in contemporary art and design and in their own practices. Students develop hybrid approaches incorporating both "traditional" and "new" processes. Class projects encourage experimentation, innovation, and interdisciplinary collaboration as well as provide opportunities for individual exploration. No prior experience with 3D modeling or digital fabrication is required. Participation from all majors and departments is strongly encouraged.
    This course is open to all undergraduate students. Graduate students can register in the crosslisted course GRAD-214G.
  • IDISC-2140

    INTRODUCTION TO DIGITAL MAKING
    This five-week workshop at the beginning of the fall, Wintersession, and spring semesters (1-credit each)as well as a end of semester project which gives students a well-rounded introduction to the use of digital fabrication tools and an overview of their applications in both art and design. The course also functions as a gateway to Co-Works, RISD's cross-departmental fab lab and experimental workspace; successful completion of the workshop grants access beyond the time frame of the course.
    Co-Works features digital tools such as 3D printers, laser cutters, 4-axis CNC mill, plotter cutter, CNC hot wire foam cutter, CNC embroidery machine, UV printer that applies color to 3D surfaces, and related software. Co-Works also includes more "traditional" fabrication technologies such as vacuum formers, large format 2D printing, industrial sewing machines, and sergers. Through technical demos and class projects, students are trained in the proper use of many of these tools as time and interest dictates.
    The course explores the theoretical implications of this technology and situates it within the context of contemporary art and design practices. Through slide presentations, readings, class discussions, and visiting artist lectures, students are encouraged to think critically about the role of digital tools in contemporary art and design and in their own practices. Students develop hybrid approaches incorporating both "traditional" and "new" processes. Class projects encourage experimentation, innovation, and interdisciplinary collaboration as well as provide opportunities for individual exploration. No prior experience with 3D modeling or digital fabrication is required. Participation from all majors and departments is strongly encouraged.
    This course is open to all undergraduate students. Graduate students can register in the crosslisted course GRAD-214G.
  • GRAD-221G

    LOOKING BACK, MOVING FORWARD: CLARIFYING YOUR ARTISTIC TRAJECTORY
    This course aims to help students develop and articulate their individual visions. While the curriculum is geared toward the future completion of the thesis project, any graduate student can gain from the process of clarifying consistent vectors of interest in the work, and fleshing out those interests through conversation, writing, research, drawing, studio visits, and class presentations. We begin by reflecting on formative projects and experiences that have been sources for artistic interests. We also engage in the visual analysis of works by other practitioners working in related modes -- looking critically at these examples, and writing and presenting our observations. Research questions, designed for each student's progress, deepen an understanding of relevant fields of inquiry, and expand possibilities for studio work. In the last phase of the class, students begin to compose documents that address departmental thesis guidelines, including learning how to document research as necessary; students in an earlier phase of graduate study do more exploratory work/research at this time.
    Graduate students only
  • GRAD-031G

    MAPPING THE INTELLIGENCE OF YOUR WORK
    This seminar is for graduate students who are preparing their written thesis. Within the context of this writing-intensive course, we examine the thesis form as an expressive opportunity to negotiate a meaningful integration of our visual work, how we think about it, and how we wish to communicate it to others. In support of this exploration, weekly thematic writing sessions are offered to open the imaginative process and to stimulate creative thinking as a means of discovering the underlying intelligence of our work. In addition, we also engage in individual studio visits to identify and form a coherent 'voice' for the thesis, one that parallels our actual art involvement. Literary communications generated out of artists' and designers' process are also examined. The outcome of this intensive study is the completion of a draft of the thesis.
    Graduate elective - seminar
  • GRAD-031G

    MAPPING THE INTELLIGENCE OF YOUR WORK
    This seminar is for graduate students who are preparing their written thesis. Within the context of this writing-intensive course, we examine the thesis form as an expressive opportunity to negotiate a meaningful integration of our visual work, how we think about it, and how we wish to communicate it to others. In support of this exploration, weekly thematic writing sessions are offered to open the imaginative process and to stimulate creative thinking as a means of discovering the underlying intelligence of our work. In addition, we also engage in individual studio visits to identify and form a coherent 'voice' for the thesis, one that parallels our actual art involvement. Literary communications generated out of artists' and designers' process are also examined. The outcome of this intensive study is the completion of a draft of the thesis.
    Graduate elective - seminar
  • GRAD-211G

    NANO-MESO-MICRO-MACRO
    Nanotechnology involves an astonishingly diverse array of disciplines that combine science and engineering; however, despite its broad scope, nanotech essentially offers all of us the same thing: unprecedented control over matter, and the world that it composes. As such, it excites speculation on the creation of new objects and environments that offer experiences not possible before. By learning about recent advancements in smart materials, biomaterials, and other technologies that are structured at the nano-scale and micro-scale, we'll explore the creation of some fresh, promising applications at the macro-scale, and make prototypes that lend vision to their novelty and merit.
    Please note that you do not need any advanced knowledge of science, technology, and engineering to enroll in this course. The only prerequisites are the wonder and curiosity that stir the creative imagination, and some making skills.
    Graduate elective
  • GRAD-112G

    ORIGIN POINT: GRADUATE THESIS IDEATION WORKSHOPS
    The purpose of this seminar is to unearth a direction - an origin point - for your graduate thesis and to jump-start the writing process for the Master's written document. Organized as a series of writing intensive workshops, this forum will enable you to explore relevant ideas, themes, core values, and to conduct research in support of the inquiry process. The process involves seeking out and scrutinizing various angles of your perspective as an artist / designer. You will write from these angles to discover the emerging aspects of solutions that matter. Each class will suggest a specific theme or principle of inflection to precipitate what is needed for the work's progress. Included will be several forms of writing: profile, review, narrative essay, poem, report, extended caption, as well as several levels of research: archival, bibliographic, fieldwork, and interview. Emphasis will also be on maps of meaning that will be used as a way to further processes of ideation and understanding. At the conclusion of the seminar you will have a conceptual focus for your thesis that is clearly formulated visually and verbally. With this is place, the summer months can then be used productively to further the breadth and depth of this initial idea through open-ended exploration and self-generated work.
    Graduate elective - seminar
    Available to first-year graduate students only
  • GRAD-101G

    PUBLIC ART: HISTORY, THEORY AND PRACTICE
    Public Art: History, Theory, and Practice

    This course offers the opportunity to discover the creative and career possibilities in the growing interdisciplinary field of public art and public practice. During the first half of the course, students research and present aspects of each weekly topic, including: pivotal events and artworks that formed the history of public art from the early 20th century to the present; individual artist's work and approaches to site-specificity; current debates around defining the public, public space, and community; temporary vs. permanent work; controversies in public art; memorials, monuments, and anti-monuments; a case study of design team practice in a public/private development; public art administration models, among other topics. During the second half, students work both individually and collaboratively on proposals and projects: a proposal for a memorial; proposals for a specific site in Providence; and temporary artworks sited in Providence.
    This is a collaborative course with Brown University's Program in Public Humanities. In the fall the course is on the Brown campus and on Brown's academic schedule.
    Note: Note: This is a collaborative course with Brown University's Program in Public Humanities. In the fall the course is on the Brown campus and on Brown's academic schedule. There are 6 openings for RISD graduate students within the 15 total openings.
    Contact Info: janetzweig@me.com
    Graduate elective - studio.
  • GRAD-101G

    PUBLIC ART: HISTORY, THEORY AND PRACTICE
    Public Art: History, Theory, and Practice

    This course offers the opportunity to discover the creative and career possibilities in the growing interdisciplinary field of public art and public practice. During the first half of the course, students research and present aspects of each weekly topic, including: pivotal events and artworks that formed the history of public art from the early 20th century to the present; individual artist's work and approaches to site-specificity; current debates around defining the public, public space, and community; temporary vs. permanent work; controversies in public art; memorials, monuments, and anti-monuments; a case study of design team practice in a public/private development; public art administration models, among other topics. During the second half, students work both individually and collaboratively on proposals and projects: a proposal for a memorial; proposals for a specific site in Providence; and temporary artworks sited in Providence.
    This is a collaborative course with Brown University's Program in Public Humanities. In the fall the course is on the Brown campus and on Brown's academic schedule.
    Note: Note: This is a collaborative course with Brown University's Program in Public Humanities. In the fall the course is on the Brown campus and on Brown's academic schedule. There are 6 openings for RISD graduate students within the 15 total openings.
    Contact Info: janetzweig@me.com
    Graduate elective - studio.
  • GRAD-212G

    PUBLIC(ATION)S SPRING
    In the past decade or so, dozens of new forums featuring writing by artists and designers have emerged (think Design Observer, Dot Dot Dot, Triple Canopy, Cabinet, F.R. David, Mousse, Creative Time Reports, and Journal for Artistic Research, to name a few), and whether by cause or effect, artists and designers are contributing to cultural discourse like never before. This year-long course invites grads from all disciplines to explore and practice writing, editing, and producing for publics and publications. The course takes place over the entire year, meeting biweekly in Fall and Spring and once in Wintersession, and comprises two concurrent parts:
    1) A literature review of some of the above publications (and others, collectively determined), including visits with some of their editors and writers, culminating in individual annotated bibliographies and an article submission;
    2) The class will become the staff of the newly revived "RISD Grad Book"-envisioning, commissioning, editing, writing for, and (pending graphic design expertise among the class) designing this annual view into RISD's graduate education, in both print and online forms.
    Throughout, we will write, with a focus on developing an audience, a purpose, a voice, and a relationship between art and design practice and writing, as well as an ability to navigate page and screen and the text-image-sound affordances of digital media. All forms of writing-scholarly, journalistic, critical, experimental, electronic, image- or design-driven, or hybrid-are welcome. The course combines guest lectures, seminar-style discussions of readings, workshop-style discussions of student writings, presentations of annotated bibliographies and submissions, hands-on editorial work, peer review, and intensive one-on-one feedback from the instructors. Upon completing the course, students will demonstrate knowledge of available publications and platforms, awareness of who their audiences/publics are, and wide-ranging skills applicable to a variety of writing contexts.
    Note: course meets bi-weekly (every other Friday) in Fall 2015 and Spring 2016 on FRIDAYS, 1:10-4:10pm and on one full day in Wintersession 2016. Fall schedule: September 11, 25; October 16, 23; November 6, 20 and December 4, 2015.
  • GRAD-219G

    PUBLIC(ATION)S SPRING
    In the past decade or so, dozens of new forums featuring writing by artists and designers have emerged (think Design Observer, Dot Dot Dot, Triple Canopy, Cabinet, F.R. David, Mousse, Creative Time Reports, and Journal for Artistic Research, to name a few), and whether by cause or effect, artists and designers are contributing to cultural discourse like never before. This year-long course invites grads from all disciplines to explore and practice writing, editing, and producing for publics and publications. The course takes place over the entire year, meeting biweekly in Fall and Spring and once in Wintersession, and comprises two concurrent parts:
    1) A literature review of some of the above publications (and others, collectively determined), including visits with some of their editors and writers, culminating in individual annotated bibliographies and an article submission;
    2) The class will become the staff of the newly revived "RISD Grad Book"-envisioning, commissioning, editing, writing for, and (pending graphic design expertise among the class) designing this annual view into RISD's graduate education, in both print and online forms.
    Throughout, we will write, with a focus on developing an audience, a purpose, a voice, and a relationship between art and design practice and writing, as well as an ability to navigate page and screen and the text-image-sound affordances of digital media. All forms of writing-scholarly, journalistic, critical, experimental, electronic, image- or design-driven, or hybrid-are welcome. The course combines guest lectures, seminar-style discussions of readings, workshop-style discussions of student writings, presentations of annotated bibliographies and submissions, hands-on editorial work, peer review, and intensive one-on-one feedback from the instructors. Upon completing the course, students will demonstrate knowledge of available publications and platforms, awareness of who their audiences/publics are, and wide-ranging skills applicable to a variety of writing contexts.
    Note: course meets bi-weekly (every other Friday) in Fall 2015 and Spring 2016 on FRIDAYS, 1:10-4:10pm and on one full day in Wintersession 2016. Spring schedule: February 19, March 4, 18, April 8, 22 and May 6, 2016.
  • GRAD-159G

    STUDIO LANGUAGES
    This combination studio/seminar course explores the relationship between art and language on multiple scales. We collectively examine - through in-class discussions, lectures, readings, and critique of studio assignments - how our relationships to language make possible an aesthetics of communication, a space where visual and verbal intersections speak of interactions between cultures. Lectures present the work of artists who use text, translation, voice, and language learning as strategies to parlay their socio-linguistic perceptions into agency. Critique of student work produced in response to assignments focuses on an exploration of language within and around each student's art practice. This course is recommended for those who speak more than one language or are interested in multiple Englishes and intercultural communication as material, subject, and foundation for creative excavation.
    Graduate Elective - studio
  • GRAD-015G

    THE ARTIST AND THE MUSEUM
    This seminar will consider the various ways in which manifold artists from Marcel Duchamp through Joseph Cornell, Claes Oldenburg, Andy Warhol, Louise Lawler, Fred Wilson, Mark Dion and the Atlas Group have made aspects of the museum a subject matter of their work. Alternatively engaged in a critique of museum practice or romantic evocations of the past, many artists for the past seventy years have addressed the staging devices that museums utilize to confer aura on the work of art as well as the makeup of their collections, categorization and behind the scenes storerooms and archives. This history will be linked to an expanding body of writing that has emerged in the past three decades given to the differing discursive narratives that museums and their archives employ. Writers such as Sigmund Freud, Theodor W. Adorno, Walter Benjamin, Michel Foucault, Jacques Derrida, Rosalind Krauss, Douglas Crimp, Ralph Rugoff, and Susan Stewart. will be considered.
    Graduate Elective
  • GRAD-153G

    TIME / TECHNICS / MEDIA
    "I know very well what time is," writes Augustine in the Confessions, "until the moment you ask me, and then I do not know." This philosophical candor was much admired by Ludwig Wittgenstein, who advised that what we cannot speak of we must therefore remain silent. Time, in itself imperceptible, is rendered salient through a variety of intercessionary technologies, utilizing sand, shadow, water, or more complex kinetic devices, to make visible, or audible, its 'passage.' Time can be measured through the body in any number of ways: the physical aging of our bodies, our kinetic movements, the performance of our everyday actions, and our changing outward personal style or disposition. Aesthetic forms, scientific and literary productions 'unfold' in time, moving toward an inexorable conclusion, end, closure or renewal. Phenomena persist, endure, and dissipate. In our contemporaneity time-based media are ubiquitous, and the intimacy between, for example, a naturally produced utterance and its technical reproducibility has become coextensive.
    In this seminar we will begin with an inquiry into the nature of time, beginning with the pre-Socratics, carrying through to Kant, Heidegger, Agamben and Stiegler; at the same time we will also examine the notion of 'technical-being' or techné, contrasted with biological, living being, bios, zöon. But the primary orientation of this seminar will address the medial or technical and aesthetic register of time-based processes and devices. From the camera obscura to telephony, from the incunabula of the proto-cinema to current digital globalizations, we will explore both the materialities and the theories of time, technics and media, and the complexities they entail.
    Graduate elective
  • GRAD-214G

    WKSHP:INTRO TO DIGITAL MAKING@COWORKS
    This five-week workshop at the beginning of the fall, Wintersession, and spring semesters (1-credit each) as well as an end of semester project which gives students a well-rounded introduction to the use of digital fabrication tools and an overview of their applications in both art and design. The course also functions as a gateway to Co-Works, RISD's cross-departmental fab lab and experimental workspace; successful completion of the workshop grants access beyond the time frame of the course.
    Co-Works features digital tools such as 3D printers, laser cutters, 4-axis CNC mill, plotter cutter, CNC hot wire foam cutter, CNC embroidery machine, UV printer that applies color to 3D surfaces, and related software. Co-Works also includes more "traditional" fabrication technologies such as vacuum formers, large format 2D printing, industrial sewing machines, and sergers. Through technical demos and class projects, students are trained in the proper use of many of these tools as time and interest dictates.
    The course explores the theoretical implications of this technology and situates it within the context of contemporary art and design practices. Through slide presentations, readings, class discussions, and visiting artist lectures, students are encouraged to think critically about the role of digital tools in contemporary art and design and in their own practices. Students develop hybrid approaches incorporating both "traditional" and "new" processes. Class projects encourage experimentation, innovation, and interdisciplinary collaboration as well as provide opportunities for individual exploration. No prior experience with 3D modeling or digital fabrication is required. Participation from all majors and departments is strongly encouraged.
    This course is open to all graduate students. Undergraduates can register in the crosslisted course IDISC-2140.
  • GRAD-214G

    WKSHP:INTRO TO DIGITAL MAKING@COWORKS
    This five-week workshop at the beginning of the fall, Wintersession, and spring semesters (1-credit each) as well as an end of semester project which gives students a well-rounded introduction to the use of digital fabrication tools and an overview of their applications in both art and design. The course also functions as a gateway to Co-Works, RISD's cross-departmental fab lab and experimental workspace; successful completion of the workshop grants access beyond the time frame of the course.
    Co-Works features digital tools such as 3D printers, laser cutters, 4-axis CNC mill, plotter cutter, CNC hot wire foam cutter, CNC embroidery machine, UV printer that applies color to 3D surfaces, and related software. Co-Works also includes more "traditional" fabrication technologies such as vacuum formers, large format 2D printing, industrial sewing machines, and sergers. Through technical demos and class projects, students are trained in the proper use of many of these tools as time and interest dictates.
    The course explores the theoretical implications of this technology and situates it within the context of contemporary art and design practices. Through slide presentations, readings, class discussions, and visiting artist lectures, students are encouraged to think critically about the role of digital tools in contemporary art and design and in their own practices. Students develop hybrid approaches incorporating both "traditional" and "new" processes. Class projects encourage experimentation, innovation, and interdisciplinary collaboration as well as provide opportunities for individual exploration. No prior experience with 3D modeling or digital fabrication is required. Participation from all majors and departments is strongly encouraged.
    This course is open to all graduate students. Undergraduates can register in the crosslisted course IDISC-2140.
  • GRAD-214G

    WKSHP:INTRO TO DIGITAL MAKING@COWORKS
    This five-week workshop at the beginning of the fall, Wintersession, and spring semesters (1-credit each) as well as an end of semester project which gives students a well-rounded introduction to the use of digital fabrication tools and an overview of their applications in both art and design. The course also functions as a gateway to Co-Works, RISD's cross-departmental fab lab and experimental workspace; successful completion of the workshop grants access beyond the time frame of the course.
    Co-Works features digital tools such as 3D printers, laser cutters, 4-axis CNC mill, plotter cutter, CNC hot wire foam cutter, CNC embroidery machine, UV printer that applies color to 3D surfaces, and related software. Co-Works also includes more "traditional" fabrication technologies such as vacuum formers, large format 2D printing, industrial sewing machines, and sergers. Through technical demos and class projects, students are trained in the proper use of many of these tools as time and interest dictates.
    The course explores the theoretical implications of this technology and situates it within the context of contemporary art and design practices. Through slide presentations, readings, class discussions, and visiting artist lectures, students are encouraged to think critically about the role of digital tools in contemporary art and design and in their own practices. Students develop hybrid approaches incorporating both "traditional" and "new" processes. Class projects encourage experimentation, innovation, and interdisciplinary collaboration as well as provide opportunities for individual exploration. No prior experience with 3D modeling or digital fabrication is required. Participation from all majors and departments is strongly encouraged.
    This course is open to all graduate students. Undergraduates can register in the crosslisted course IDISC-2140.
Grad Studies Foreground Image 3
The Graduate Thesis Exhibition attracts large crowds during its two-week run at the RI Convention Center.