Fall 2018 Course Descriptions

The GW Bulletin houses official program requirements for the university. You can use it to find out the courses you need to take to complete your degree. However, we want to help you navigate the course selection process, so we have provided more detailed descriptions of what each course entails that you can use as a resource while planning your course schedule. Please contact your program with any specific questions.

For a list of when these courses are being offered in the fall, please refer to our 2018 Course Offerings page. Please note that these are still subject to change and the final schedule of courses can be found through the Office of the Registrar.

Please note that some professors may put their own spin on a course, so the actual syllabus of a course may vary slightly from the below descriptions.

Courses are listed by their course code in alphabetical order under their focus subject area. Sometimes the code prefixes can be confusing - here are some clarifications:

ART HISTORY: Art History courses are listed under both AH and CAH.

DESIGN: The design program houses graphic design, digital media design, interaction design, and exhibition design. Exhibition design and interaction design have been given their own sections below. The rest of design can be found under the Graphic Design & Digital Media Design section, including the codes CGD, CDE, and CDM.

STUDIO ARTS: The studio arts has the most degrees at the Corcoran, as well as the most code prefixes for courses. If you are looking for non-photography fine arts courses, look under the Fine Arts section, which includes the codes FA, CCR, CFA, CFN, and CPR. Those codes correspond as FA = fine arts, CCR = ceramics, CFA = corcoran fine arts, CFN = first year foundations, CPR = printmaking. If you are interested in art courses, look through the entire list, as not all ceramics classes are under CCR, etc.

If you are looking for photography-based courses, there is a seperate section entitled Photography & Photojournalism, which contains the course codes CPH and CPJ, as well as some FA.

AH 1000 Dean’s Seminar
D. Bjelajac
During the eighteenth-century, English, Scottish, Irish and continental European stonemasons’ medieval guild traditions inspired the modern cultural formation of Freemasonry and competing international networks of Masonic lodges.  Freemasonry attracted men from a wide socio-economic spectrum and found support from both radical revolutionaries and counter-revolutionary conservatives. But ever since the Age of Enlightenment and the American and French Revolutions, Freemasonry’s secretive lodge meetings, mysterious initiation rituals and esoteric visual symbols have fostered orthodox Christian opposition and anti-Masonic conspiracy theories charging a varying host of purported vices, blasphemies and subversive misdeeds. This course critically examines these conspiracy theories, popularized in a variety of media, while also exploring Freemasonry's racial, gender and class exclusions/divisions. Freemasonry's global networking assisted American imperialism and helped shape the nation’s capital. Washington, D.C.’s urban design, historic-revival architecture, monumental sculpture and large-scale history paintings will be subjects for lectures, readings, class discussions and field trips to local museums, libraries, buildings and monuments.  The seminar will consider the manner in which George Washington himself came to personify American Freemasonry, becoming a model for later United States presidents who joined the fraternity. Students will read both primary and secondary sources and will be required to write papers critically analyzing visual objects and architectural spaces while also evaluating the literature of Freemasonry, anti-Masonry and secret-society conspiracies.

AH 1031 Survey of Art and Architecture I (G-PAC)
M. Natif
This course is an introduction to the history of art that selectively surveys painting, sculpture, architecture, and material culture in Europe, Asia and the Mediterranean before 1300 CE (i.e. from Prehistory through the Middle Ages). By using a variety of theoretical, analytical and critical means, you will learn to approach works of art in relation to their larger historical, cultural, political, economic, and religious contexts. In class, we focus on the contextual conditions under which works of art were produced and the various ways they have functioned from that time on. You will learn how to perform visual analysis, understand iconography and meaning, articulate the important characteristics of individual objects and monuments, as well as recognize broader stylistic developments across time. Visits to museums will provide you with first-hand experience of original artworks. Classes are comprised of lectures and discussion groups.
*This G-PAC course is approved to fulfill requirements in two distributions: Arts; and Global /Cross-Cultural Perspective.


AH 1135 Spanish Art: Prado/Thyssen Museums
C. Hernandez-Garcia
Description coming soon

AH 2071 Intro to The Arts in America
D. Bjelajac
A survey of American art from the period of colonial exploration and settlement to the postmodern present. Political and social meanings of painting, sculpture, architecture, prints, and photographs. The relationship of art to religion and nationalism; issues of class, race, and gender.
*Same as AMST 2071.

AH 2145 History of Decorative Art - European Heritage
J. Carder
Description coming soon

AH 2154 American Architecture I
P. Jacks
A lecture course on the built environment from colonial settlements in the 17th century to the Civil War. Architectural monuments are analyzed in terms of traditional forms and types, cultural practices and religious customs, the advent of technology and patterns of urban growth. As America was formed by the melding of emigrés from the Old World and indigenous peoples of the New World, the course looks at how different forms of habitation were adapted to regional characteristics of climate and topography. Lectures also follow the emergence of the professional architect (Harrison, Latrobe, Thornton, Jefferson, Mills, Town, Downing, Davis, Strickland, Haviland, Richardson), through publications coming out of Europe.

AH 2162W History of Photography
L. Lipinski
Description coming soon

AH 2191 South Asian Art (G-PAC)
C. McKnight Sethi
This course considers visual and material culture of South Asia from early archaeological settlements to the contemporary period. Regions to be studied include the Himalayas and the Indian subcontinent (Bangladesh, India, Nepal, Pakistan, Sri Lanka). Working chronologically, we will examine artists and diverse creative practices and the powerful patrons who supported them. Fundamental to our study will be to acquire a working knowledge of the geographical, political, and social forces in the region, and to explore the ways in which both religious and secular art and architecture operate in this rich cultural terrain. No previous knowledge of South Asian history or art history is required. This course fulfills the G-PAC Arts requirement for Critical Thinking and Cross-Cultural Perspective.


AH 2192 The Art of Southeast Asia
S. Francoeur
Description coming soon


AH Ancient Art of Bronze Age & Greece
E. Friedland
Description coming soon


AH 3121 Italian Art & Architecture - 16th-Century
P. Jacks
Description coming soon


AH 3122 Topics in Early Northern Renaissance Art & Architecture
B. Von Barghahn
This course concerns the International Style and its legacy in France, with particular focus upon the courtly environments of the early Valois kings during the late fourteenth and early fifteenth centuries. Lectures encompass sacred and secular art, and also will address relevant architecture (i.e. Paris’ Louvre, Island Palais and the hunting estate of Vincennes).
The patronage of Charles V (1364-1380) especially is analyzed as prelude to discussions about the art acquired by his two younger brothers, Louis I, Duke of Anjou, and Jean, Duke of Berry. Louis I d’Anjou (1339-1384) is best known for his purchase of the large set of “Apocalypse” tapestries housed at Angers Castle. Louis II d’Anjou (1377-1417), maintained another sumptuous estate at nearby Saumur, where his wife, Yolande of Aragon, ordered the illumination of a highly expressive manuscript called the “Rohan Hours.”
Jean de Berry (1340-1416) possessed at least ten important strongholds, all filled with rare works of art. His library at Bourges rivaled that of King Charles V in the Louvre, and several of these costly tomes were illustrated by the Limbourg Brothers, who hailed from the Netherlands.
The lectures of this class will conclude with a discussion of Charles VI, who suffered from mercurial bouts of insanity, and the pivotal political role played by his younger brother Louis I d’Orléans (1370-1407). From his town mansion in Paris to his rural fortress of Pierrefonds, Louis sustained a love affair with his sister-in-law, Isabeau of Bavaria. The notorious queen actively promoted the career of the important authoress Christine de Pisan, who criticized the ribald imagery of the famed “Romance of the Rose.” Pisan’s illuminator Anastasia illustrated several of her texts that concerned the whims of fate and the vicissitudes of fortune.


AH 3122W Royal Courts of France: International Style
B. Von Barghahn
This course, which addresses relationships between France and England during the Hundred Years War, provides a foundation for understanding the chivalric ideals that governed the Valois court before Henry V’s 1415 victory at Agincourt. Some arresting topics not typically covered will be considered: techniques of manuscript illumination, stained glass and enamel; bestiaries, the “art” of the hunt and the quest of the mythical unicorn; the “Nine Worthies” as models for knightly codes of conduct; England’s “Black Prince” Edward as hero of the Hundred Years War; the Holy Grail Mystique at Glastonbury  Abbey and Windsor Castle; sacred pilgrimage and reliquary collections of the international centers of Paris and Prague; the châteauas citadel of art and emblem of courtly power.


AH 3141 European Art of the Early Nineteenth Century
L. Robinson
This course considers the development of Neo-Classicism and Romanticism in the context of the rapidly changing political, intellectual and social climate of Europe during and after the 1789 French Revolution, the Napoleonic Wars, the Restoration and the French Revolutions of 1830 and 1848.
The primary focus is on painting and sculpture and the thematic, stylistic and contextual examination and interpretation of Neo-Classicism and Romanticism in France, England and Germany in the work of representative artists such as Jacques Louis David, Antonio Canova, Eugène Delacroix, Caspar David Friedrich, Francesco Goya, John Constable and JMW Turner.
Requirements of the course include: two examinations, assigned readings and a research paper.  Students enrolled in the WID section of the course have additional writing assignments. All images shown in class are posted on Blackboard.


AH 3160 Latin American Art & Architecture
A. G. Huezo
This course examines the colonial art of Mexico and other territories within the Spanish Viceroyalty of New Spain. Though concerned primarily with the Viceregal period (1521-1821), it also considers art from before the Spanish conquest by exploring the outstanding achievements and enduring contributions of some of the world’s greatest civilizations, from the Olmec in Mesoamerica to the Inka in South America. The course focuses on the importation and adaptation of European artistic models in the Americas and the transformation of both European and Indigenous art as a result of the conquest. By analyzing a variety of materials and topics including secular and religious architecture, paintings, ritual and processions, sculpture, and manuscripts, the course places particular emphasis on the interaction between native traditions and imported ideas in relation to religion, politics, and daily life. The course introduces students to the major theoretical issues regarding the art of New Spain and its interpretation while addressing important themes such as culture contact, evangelization, hybridity and globalization, and race and gender. Note: All reading materials, including original sources, are in English. No previous knowledge of Latin American or Spanish art, history, or religion is required.


AH 3165 Later Twentieth-Century Art
A. Dumbadze
Description coming soon

AH 3170 Materials, Methods, & Techniques
P. Reuther
Description coming soon

AH 4119 Seminar: Medieval Art & Architecture
TBA
Description coming soon

AH 4169 Seminar in Contemporary Art
A. Dumbadze
Description coming soon

AH 6235 Seminar in Baroque Art: European Dynastic Houses & Collections
B. Von Barghahn
The course will open with lectures and discussion regarding a new approach to the reign of the much-maligned last Hapsburg monarch Charles II, a sovereign whose rule (1665-1700) ushered in the Bourbon monarchy in Spain. The impact of Dowager Queen Mariana will be considered, in addition to the role of Charles’s two queens, one of whom was the niece to Louis XIV. The Wars of Spanish Succession resulted in the elevation of the first Bourbon king in Madrid. The reign of Philip V (1700-1746), the melancholic grandson of Louis XIV of France, witnessed strong artistic patronage by his two Italian queens, Maria Luisa of Savoy and especially Queen Isabel Farnese who collected about 1500 paintings. Several royal residences will be investigated, notably the Alcázar, Buen Retiro and Pardo Palaces of Madrid, as well as Aranjuez Palace near Toledo and La Granja Palace in Segovia, a “Spanish Versailles”. All were characterized by lavish all’antica gardens, frescoed halls, and galleries replete with paintings, sculpture, and finely woven tapestries. If time permits, Philip V’s successors might be considered: Ferdinand VI, who inaugurated the Academy of San Fernando in Madrid, and Charles III, who from his Caserta Palace near Naples, sponsored excavations at Pompeii and commissioned Anton Raphael Mengs, Giambattista Tiepolo and the young Francisco de Goya to decorate the Royal Palace of Madrid and stately countryside manors. Presentation and research topics for graduate students will focus upon courtly patronage from the Baroque and Rococo to the age of the Enlightenment and address the rich artistic legacy of diverse Northern European dynastic houses (Bourbon France, Stuart and Georgian England, Archducal Belgium, Holland’s House of Orange, Northern Hapsburg, Bourbon Spain, Portugal). Palaces and rural estates will be considered not only as settings to highlight monarchical splendor, but also as significant repositories for important art collections.


AH 6258 Art Historiography
C. McKnight Sethi
This graduate seminar examines a range of critical perspectives, theoretical issues, and global methodologies that constitute the practice of art history. The course topics and required readings offer insight into particular histories, inheritances, and possibilities within the discipline, and are designed with the goal of allowing students to develop their own approaches to researching and writing about art. Students in the class will be asked to identify relevant texts, write weekly reading responses, lead class discussions, compose critical questions about themes introduced in class, participate in lectures by visiting artists and scholars, and produce an historiographic study of a single work of art from a local collection.

AH 6265 Seminar in Islamic Art & Architecture: Art & Architecture of the Timurids in Central Asia and Iran
M. Natif
When the Mongols conquered Central Asia and Iran, their armies included a large number of Turkic tribes. From these Turkic tribes emerged the leader Timur, or Tamerlane as he is known in the West. With the intent of following Chengiz Khan’s footsteps, he created a vast nomadic empire in Central Asia and Iran. His dynasty lasted for about 130 years, from the 1370s until its demise in 1507. As Sunni Muslim nomadic rulers, the Timurids were avid patrons of art and architecture. They commissioned mosques, madrasas, shrines, mausoleums, and gardens. They collected manuscripts, painting and calligraphy, and sponsored some of the most famous artists in the Persianate world. Some of the Timurid princes also composed poetry, practiced calligraphy and were very much involved in the arts. Their intellectual circles and patronage became a model for other dynasties, such as the Ottomans, Safavids and Mughals. In this seminar, we will examine the Timurid patronage of art and architecture (generally chronological), as well as explore broader themes of critical issues, such as patronage as a means of legitimization and cultural assimilation; the importance of history and lineage; changes in socio-economic structure; vernacular and dynastic architectural traditions; the formation of a visual idiom in public and private spheres; and the patronage of Timurid women. Throughout the course we will analyze key works and specific case studies that offer a more complete grasp of the subject. All reading materials, including original sources, will be in English. No previous knowledge of Islamic art, history or religion is required.


AH 6269 Seminar in Contemporary Art: Fast Fashion / Slow Art
B. Obler
In July 2019, the exhibition “Fast Fashion / Slow Art,” co-curated by Bibiana Obler, associate professor of art history, and Phyllis Rosenzweig, curator emerita, Hirshhorn Museum and Sculpture Garden, will open at the Textile Museum / George Washington University Museum. Conceived as a crucible for new research, the exhibition aims to foster discussion on such questions as: What are the merits of the local and tailor-made versus the global mass production of “fast fashion”? Is it possible to protect workers’ rights and ensure safe working conditions while keeping up with consumer demands? What skills do the mass production of textiles require? Can design and technology offer sustainable solutions to the environmental effects of fast fashion? What role do art and popular culture have in raising consumer consciousness? In this eponymous graduate seminar, students will collaborate with Prof. Obler on research in preparation for the show. In addition to contributing to the process of curating the show itself, students will pursue their own individual research on relevant topics.


AH 6270 Special Topics in Art History: Collectors and Collections
L. Robinson
Built on assigned readings ,class discussion, and lecture this course considers the evolution of European and American collecting from antiquity to the early twentieth century. Individual collectors-- monarchs, aristocrats, and the middle class- provide the focus for an examination of collecting motivation, aesthetic considerations, methodology of collecting and display in the context of the artistic, intellectual, social, and political climate of the time. Requirements of the course: research paper, oral presentation based on research paper, review of a current local exhibition, and a take-home examination. In addition, students take turns presenting a synopsis and leading a discussion of one of the readings assigned for that day.


AH 6286 Museum Preventive Conservation Concepts
C. Hawks
Historical development of preventive conservation in museums, conservation ethics, team approaches to conservation, interactions of various materials with agents of deterioration. Basics of materials testing, preparation of condition reports, choosing museum storage and exhibition materials, and risk assessment.
*Same as ANTH 6203 and MSTD 6203.


AH 6287 Preventive Conservation Techniques
M. Coughlin
Practical applications of preventive conservation of materials, monitoring environmental conditions, conducting risk assessments, evaluation of exhibit and storage areas; developing plans, policies, and procedures for collections care; grant proposal preparation for collections care initiatives.
*Same as ANTH 6204 and MSTD 6204.


CAH 1090 Art History I
L. Lipinski
Description coming soon


CAH 3150 Theory / History of Graphic Design
L. Lipinski
Description coming soon

CDAD 6570 Proseminar: Research & Writing for Decorative Arts & Design History
S. Mandravelis
This writing-intensive course is designed to equip students with the skills required for scholarship in the history of decorative arts. The focus of this course is to develop methodologies adopted in decorative art and design history scholarship as well as to practice critical analysis skills. Formatting, argument, organization, content, are all critically examined by students in preparation for seminar courses. Students hone reading, writing, and research skills through assigned readings, class discussions, and writing assignments.
*Open to Decorative Arts & Design History students only.


CDAD 6571 Survey of Decorative Arts and Design I (1400-1800)
E. Kuykendall Thomas
This required foundational course provides an overview of European decorative arts from the 
fifteenth to the eighteenth centuries. Emphasis is on major developments in furniture, metalwork, textiles, glass, and ceramics from Italy, France, England, Germany, and the Low Countries. Through lectures and readings, students will build a working visual and historical vocabulary of decorative art materials, forms, styles, ornament, production, and use. Topics covered include the development and uses of interiors, socialization of space and the body through display of objects, rise of consumer culture, impact of global trade networks, court ritual and display, politics of taste, major patrons and makers, important objects and sites, and the development of manufacturing technologies. Students will apply their skills in written assignments and written examinations.

CDAD 6573.10 Theories of Collecting: Thinking through Objects
E. Rochette
This class will explore the themes and parameters of collecting, the notion of collecting as identity and the relationship between collecting and consuming as they pertain to decorative art and design in the West. We will consider this topic within societal, imperial, cultural, economic, emotional, environmental and ethical settings in Western history starting in the 18th century. Examining collections as a group (royal and national collections as well as private collections from the Medici’s to Yves Saint Laurent) and collectible objects (the Portland Vase and the Eames lounge chair for example) students will sharpen their critical analysis skills by investigating the role of art museums, galleries, fairs, and auctions houses as socially constructed institutions, and the resulting hierarchy for objects and the effects on the development of a market. The class will take the form of discussions based on weekly readings and visits to several collections in and around Washington D.C. including The Kaufman Collection of American Furniture at the National Gallery of Art, the collection of Marjorie Merriweather Post at the Hillwood Museum, European Design Collection at the VMA.
*Fulfills material culture theory requirement


CDAD 6573.11 The Arts of Dining
E. Kuykendall Thomas
This seminar examines why the metal, ceramic, and glass objects for eating and drinking which 
were made and used in America during the past 350 years have taken the shapes or forms they have (for example, why do plates have wide rims; why are the sides of coffee cups vertical and the sides of tea cups sloping; why are gravy boats one of the most popular eighteenth-century forms in silver but rarely used today; etc?). The course provides a thorough period context for objects which are often treated as isolated pieces of small sculpture in culturally neutral museum displays. Particular emphasis is placed on silver objects which have usually provided the models for objects made of other materials. Among the issues to be explored are characteristics of the materials and how this help to determine the forms objects take and the uses to which they are put; the changing popularity and introduction of various new foods and how they determined the vessels for their service and consumption, room use, furniture development, even roles of servants, etc.; the rise of middle-class consumerism; and impact of fast-food culture on the decorative arts and modern mores! Each session will combine a slide lecture with class discussion and a hands-on workshop using actual objects.
*Fulfills material culture theory requirement


CDAD 6574.10 American Victorian Furniture
O. Fitzgerald
Queen Victoria, who ruled England from 1837 to 1901, gave her name to more than a half-
century of furniture design. When we think of Victorian furniture the extraordinary Rococo, revival creations of John Henry Belter come immediately to mind. But Victorian design encompassed many different revival styles including Gothic, Renaissance (with its Neo-Grec and Louis XVI phases), Eastlake and Colonial Revivals. All too often Victorian furniture is judged against classical principles of design when, in fact, it represented a radically different design approach largely shaped by the concept of the picturesque. The course concludes with the Arts and Crafts Movement critique of Victorian design.
*Fulfills medium-based survey requirement


CDAD 6574.11 Global Survey of Glass
J. Shea
This course is designed to give students an understanding of the history of glass in the regions of the world where glassmaking has had the most significant impact. Through readings, videos, hands-on sessions, and assignments students will gain an understanding of the fundamentals of glassmaking and the history of glass. Students will study the ancient origins of glass and the rise and importance of glass in Western Europe, most notably in Renaissance Italy. Course readings will examine the spread of styles and techniques throughout Europe and include the impact of glass in interiors. A look at glassmaking in early America, the development of the studio glass movement and the use of glass in twentieth and twenty – first centuries, both as an artistic medium and a design material, will bring the study of glass to the present day.
*Fulfills medium-based survey requirement


CDAD 6575.10 Ornament: History & Meaning
C. Fischer
Ornament assigns powerful symbolic meanings across cultures and can be understood 
universally or only by distinct groups. This graduate course looks at an interdisciplinary history of ornament across media, deciphering motifs, designs, colors, etc. as a language and system of identity. This course will be supplemented by lectures and Smithsonian museum visits where students learn to identify, contextualize, and reinterpret culturally significant associations.
*Fulfills Non-Western influences requirement

SPECIAL REGISTRATION COURSES*

*The following courses require special permission from the department.

CDAD 6900.10 Independent Study
Students who wish to pursue a specific interest may choose to work independently under the supervision of a faculty member or museum curator. These topics must be separate from coursework and the final project must be a research paper or a professional presentation with audience. To register for an independent study, the Contract for Independent Study must be completed, which requires a description of the project and the signatures of the supervisor and a member of the department staff.
It is the student’s responsibility to define and outline a course of study and a final project, and to obtain the approval of the supervisor first and then the department director before proceeding. With the supervisor, the student must establish work load and determine how progress is measured. The student and supervisor must also agree on a final project. Students may not use the independent study to prepare material for a thesis proposal; it should be a separate research project. The supervisor is responsible for overseeing and evaluating the student’s course of research: approving the proposed outline, offering guidance as it pertains to bibliography and methodology, and for grading any preliminary work and the final project.
Students may enroll in a maximum of 6 credits of independent study toward their degree.


CDAD 6902.10 Internship
Students who wish to acquire additional professional and practical experience in the field may choose to intern at a pre-determined institution. Arrangements for and approval of any internship must come through the department director. To register for an internship, the Contract for Internship must be completed, which requires a general description of the work the student is doing and the signatures of the internship supervisor and the department.
As an intern, the student is required to work a minimum of eight hours per week or 120 hours total over the course of the semester. In addition, the student must keep a journal reporting their activities to be handed in at the end of the semester to the department director who, in consultation with the internship supervisor, awards a grade on the basis of performance and written work. Students must also complete a Critical Analysis Paper, which contributes to their grade. The internship supervisor should assign projects that give students training and hands-on experience in the area of the supervisor’s expertise such as curating, exhibit design, publications, or museum education. Opportunities for interaction in a collegial and professional environment are as important as the development of specific skills. Students may enroll in a maximum of 6 credits of internship toward their degree.


CDAD 6998 / 6999 Thesis I / Thesis II
The master’s thesis requires research and writing on an approved topic under the direction of a faculty supervisor. Students must have had their thesis approved by the department prior to must registering for thesis. Students enroll in a minimum of 3 credits and maximum of 6 credits of MA Thesis that apply toward their degree; once they have taken two semesters of thesis, they must enroll in a one (1) credit thesis course until the completion of the thesis. Students must be enrolled in thesis during the semester they intend to graduate.

CEX 6010 Core Studio I: Introduction to Exhibition Design & Planning
J. Louie / J. Goldman
Introduction to the process of planning and designing effective interpretive exhibitions. The final project and presentation is a conceptual interpretive exhibition design that identifies the target audiences and their needs and that develops interpretive goals and objectives, theme and subthemes, the overall visitor experience, schematic plans and drawings, and graphic design and typography typicals. Field trips and guest speakers bring real-world experience to the course.
*Restricted to MA in Exhibition Design degree candidates; students in the Certificate in Exhibit Design may be admitted upon request.

CEX 6011 Core Studio II: Introduction to Tools & Methods of Visual Representation
TBD
This course will introduce students to tools and methods used for graphic design, drafting, and model-making for the purposes of exhibition development and design. Students will learn the essentials of graphic design through practice in Adobe Photoshop, Illustrator and InDesign. Students will document exhibition elevations and floor plans using Vectorworks. Students will practice the techniques of model-making for use in design development and final presentation of exhibition design concepts.
*Restricted to MA Exhibition Design Students.


CEX 6110 Materials, Finishes & Methods
A. Tsao
This course is an introduction to the range of fabrication and finishing materials available for the design and
construction of museum exhibitions. Students will learn how to integrate materials into the sustainable design and
fabrication of exhibit components based on the considerations of design intent, functions, green products and
process, aesthetics, visitor experiences, historic environments, life safety, cost, conservation, ADA guidelines,
security, operations and maintenance, etc. Students will also be introduced to construction documents and learn
the basics of organization and preparation of technical specifications.

CEX 7120 Construction & Detailing for Exhibition Design
K. Brookes
The materials, documentation, and construction techniques used by exhibition designers and fabricators. How design decisions can influence manufacturing efficiency and cost. Drawing skills for reverse engineering of typical exhibit structures. Compilation of a final design or construction documentation package with exhibit media keys and requisite components to communicate and control the design during fabrication.

CEX 7800 Thesis Part I
N. Briggs / N. Crellin
The equivalent of the programming phase of a professional exhibition design project, Part 1 of the Capstone/Thesis lays the critical foundation for an exhibition proposal by defining its mission, interpretive goals, and content. Students develop a design concept, based on precedent research, that serves as the guideline for the Capstone/Thesis to be completed in the following semester. The format of the final pro-thesis document is an academic research paper with concept design sketches, plans, and drawings.
*Prerequisites: CEX 7010 or CEX7011. Restricted to MA in Exhibition Design students; pre-thesis assessment is required prior to registration.

CCR 1253 Introduction to the Wheel
TBA
Description coming soon

CFA 1090.80/.81 Fundamentals I: Drawing
M.A. Arntzen or C. Dolan
Description coming soon

CFA 1091 Fundamentals II: Painting
C. Oberndorfer
This course introduces oil painting as a medium for the expression of visual ideas. Students will engage in development of technical and perceptual skills that are the foundation of visual expression. Projects will begin with an introduction to the mechanics of paint handling and modeling form through value, line, color, and shape. Students will articulate how formal qualities support or detract from spatial illusionism and use the process of comparative assessment, decision-making, and adjustment remain engaged with visual problem solving. Verbal and written communication through formal vocabulary will be expected in critical evaluation and discussion of paintings.

CFA 2090 Fine Art Studio I
J. Sham
Description coming soon

CFA 2124 Workshop: Painting Basics Fine Art
TBA
Description coming soon

CFA 2125 Medium and Materials Workshop: Printmaking
K. McAleer-Keeler
An introduction to the use of a variety of printmaking media, connecting their use to the mainstream ofcontemporary artistic practice. Etching, lithography, screen print and relief printing. The course explores printmaking's multi-facetedrelationships to photography, sculpture, painting, and other media.

CFA 3090 Fine Art Studio III
D. Page
Description coming soon

CFA 3120 Fine Art Seminar I
M. Springfield
This course, a companion course to Fine Art Studio III, is designed to help students develop personal models of research as artists. Readings, writing projects, and critical discussion will be our primary tools as we investigate how artists can draw from literature, philosophy, history, science, politics, popular culture, and other fields to inform their work. When possible, visiting speakers, field trips, film screenings, and other activities will provide additional perspectives.

CFA 3210 / FA 3401 / 6401 Advanced Painting: Special Topics
J. Goodman
This is an elective for BFA Fine Art students; it will review fundamental painting approaches and introduce further experimentation and development of formal, technical, and conceptual aspects of painting. We will explore both current and historical painting practices, and investigate the concepts of observation, representation, abstraction, and conceptual thought as sources for our work. Discussion regarding scale, supports, surface preparation, color, and the manipulation of paint as materials and their impact on content and expression will be explored. Students will be encouraged to work from self-direction and self-motivation, and will begin to develop a personal language of content and expression. We will also explore a wide range of subjects and sources - with the goal of building a broad visual language of exploration, discovery, and self-expression. Material demonstrations, class readings and discussions, and individual and group critiques will take place throughout the semester. There will be regular field trips to museums, galleries and studios. Whenever possible visiting artists will be brought into to the classroom. Instruction will be through in studio demonstration of materials, watching DVDs and youtube videos.
*Prerequisite: CFA 2124 Medium and Materials Workshop: Painting I Basics for Fine Arts or CFA 1220 Beyond Basics: Painting for Fine Art.
*This course is intended for, but not limited to, junior BFA majors.

CFA 3800 Directed Studies: Fine Art
K. McAleer-Keeler
This course is student and instructor driven. If interested in exploring this as an option, please contact professor McAleer-Keeler.

CFA 4090 Fine Art Thesis I
J. Goodman
This team taught course extends and builds upon the self-direction of Fine Art Core III. The 4th year Senior program encourages professionalism and commitment as students pursue a course of independent study leading to their final Senior Thesis project.  Preparation done in the faculty-directed Senior Projects further develops students’ work habits, resourcefulness, skills and self-reliance. This process challenges students to bring together a coherent body of work and a written statement for their final portfolio.

CFN 1090.10/.11 Drawing and Surface
J. Latiano
Description coming soon

CFN 1091.10/.11 Studio I: Form and Materials
C. Montoya or J. Sham
Description coming soon

CPR 2300 Screenprinting
TBA
This is a broad based course in screen printing for both beginning and intermediate students. The course covers techniques and strategies in screen printing for students studying graphic design, photography and fine arts. The first half of the semester will be devoted to basic skill building and understanding the potential and uses of this medium. The second half will focus on specific projects related to each student's interests and background.

CPR 2403 / FA 3901.80 Book Arts: Concept & Content
K. McAleer-Keeler
This course is for the beginner to intermediate student in fine arts, graphic design, or photography and encompasses the fundamentals for creating and assembling artist's books. Class focus will be on student examination of book content and concept and will cover a range of book structures such as portfolio forms, pamphlets, Japanese stab binding, folded books/concertina, Coptic and perfect bindings.
The book object will also be covered by discussion. The intermediate student will work more independently with additional hybrid book forms under the guidance of the instructor. Content of the books is emphasized with demonstration in a variety of print and image making techniques.

CPR 3701 / FA 3901.81 The Art of Collagraph and Mixed-Media Printmaking
K. McAleer-Keeler
Inspired by the assemblage and collage work of Pablo Picasso, George Braque, Juan Gris and Kurt Schwitters of the earlier part of the 20th century, the collagraph print was developed through experimentation methods of artists of this time period and received its technique name in the 1950’s by artist Glen Alps. Collagraph and Mixed Media prints are created through the use of collage materials fused to a plate substrate and then printed either using intaglio or relief printing methods. This course is an exploration of collagraph printmaking techniques that will include: silk organza collagraphs, sandrographs for the Vandercook press, traditional collaged collagraph plates and paper prints. Students will focus on the production of multiple print editions and technical skills while receiving critical feedback. 

FA 1014.10/.11 Handbuilt Ceramics
J. Varga
Description coming soon 

FA 1015.10/.11 Wheelthrown Ceramics
K. Rohde
Description coming soon

FA 1201 Sculpture: Investigations
S. Fox
Material Investigations is an introduction to visual thinking in three-dimensional form and space. The broad goals are to learn concepts and develop some of the many skills used in devising, making and understanding sculpture. It will encourage creativity through the interaction of ideas, tools, and materials. Sculpture offers students the opportunity to exercise their creative drive and transform their ideas into three-dimensional forms. Over the semester we will work in traditional and contemporary materials and methods. The course is divided between several thematically driven projects that introduce concepts, new materials and processes. 
We will explore how to activate physical space while creating forms through additive and subtractive processes. 

FA 1301.80/.81 Drawing Fundamentals
M.A. Arntzen or C. Dolan
This course is an introduction to both traditional and contemporary strategies and skills. It is assumed that students have little or no familiarity with the visual arts generally or with drawing specifically. This is a studio drawing course, which means that majority of class time will be given over to the activity of drawing. Topics such as technique, process and meaning will be presented and we will establish the fundamental skills for developing a solid foundation for further growth. Emphasis will be placed upon working directly from life, creating an understanding of line, shape, value, contrast, composition, and mark making along with a variety of conceptual issues relating to the visual arts.

FA 1401.10/.11/.12/.80 Painting: Visual Thinking
C. Dolan or C. Oberndorfer
Visual Thinking introduces oil painting as a medium for the expression of visual ideas. Students in the course are continually engaged with visual problem solving. A painting advances by a process of comparative assessment, decision-making, and adjustment. Using formal vocabulary to understanding what is seen, one’s own paintings, and finished artworks develops skills of visual analysis and an understanding of the art historical issues of the discipline. These skills are integral to thinking critically about meaning production in painting and other forms of visual communication.
In the first portion of the semester, in-class observational painting exercises of increasing complexity introduce the formal vocabulary of painting, and give students practice at manipulating that vocabulary. Beginning with an introduction to materials and paint application, students move on to learn to model form, creating an illusion of space and volume on a two-dimensional surface. Exercises progress from painting simple geometric volumes such as cubes and spheres, to painting from still life, architecture, and human models in the studio. Color theory, pigment properties, and historical construction methods are discussed and then applied in practice. Interactions of value and color in pictorial composition and spatial illusion are studied. Issues in historical and contemporary painting are introduced. In the second part of the semester, students explore abstract and non-objective painting approaches, topical assignments, and independent projects. Course material is provided through demonstrations, lectures, in-class individual instruction, readings and discussions, group and individual critiques, and field trips. Reading, writing, critique, and discussion are exercised frequently.

FA 1601 New Media: Digital Art
L. Ikard or N. Cheung or B. Davis
This course will be structured around three components: studio work, the development of technical skills, and introduction to the broad field of 
new media / electronic and time-based arts. There are many types of digital and electronic art practices – with many influences. The course will cover a series of topics that have motivated media artists over the last 30 years, as well as historical roots in other “new” medias, such as photo, film, etc. Art and design practices (whether they are visual, sonic, conceptual, formal, political, commercial) are rooted in close observation of the world. Observing the visual qualities of objects, how people behave, what something sounds like, what something feels like, what a text says– whatever the focus may be, detailed attention and observation are key starting points. We will follow those observations into the digital realm to see how digital representation and distribution affect the making and reception of art, ideas, and relationships. There are no prerequisites for this course.

FA 2001 Concept Lab
J. Sham
Description coming soon

FA 2190.80 / 6901.80 Special Topics in Fine Art: Screenprinting
K. McAleer-Keeler
Description coming soon 

FA 2190.81 Special Topics in Fine Art: Printmaking Workshop
K. McAleer-Keeler
Description coming soon

FA 3201.80 / 6249.80 Special Topics in Sculpture: Intimate Architecture
D. Page
This course looks to the body as catalyst, site, form, means of measurement and inspiration, investigating our relationships with clothing, costume, ornament, furniture, transportation, the built environment and other humans in order to create new forms that relate to and/or interact with our bodies.
The body will be used as a reference, looking also at design disciplines such as clothing, costume (fashion), ornament, furniture (structure and upholstery), transportation, small architectural structures that accommodate us in intimate ways, to inspire us to create new artworks and design forms.
The materials and processes may include but are not limited to textiles (woven and non-woven), leather, metal, wood and composites. Choice of materials is determined by the students' preferences and the demands of the project.

FA 3201.81 / 6249.81 Special Topics in Sculpture: Interactive Digital Forms
K. Patton
Interactive Digital Forms is about animating space and objects through physical computing. We will explore Interactive art as a process that seeks to engage the viewer/listener by incorporating their presence, movement, and responses into the design of an object or experience. This is an advanced course and students are expected to have facility with the creation of 3 dimensional forms or advanced skills in media creation. The course will focus on activating these forms via technology. Emphasis will be placed on the seamless incorporation of technology into the art experience and on a well-considered approach to interaction design and interactive art.
*Same as CIXD 3201.

FA 3901.82 / 6901.81 Narrative Media for Interaction
S. Rigg
This course examines a variety of narrative/journey visualization and organization tools, including universal modeling language, graphical mapping, and storyboarding. Students will also engage with basic media production tools such as recording and editing video footage for ethnographic research.
*Same as CIXD 2090

FA 6294 Writing in Practice
C. Montoya
Description coming soon

FA 6295 Critical Practices
S. Rigg
Description coming soon

FA 6296 Studio Visits
TBA
Description coming soon

FA 6298 Internship
J. Sham
Description coming soon

CDE 1090 Design Fundamentals I
H. Park
An introduction to the visual components that serve as fundamental principles in the field of design. The study, classification, and application of Gestalt theories of perception, color systems for designers, and pattern making. Design methodology, processes, and language; the critique process; project workflow; professional practices and presentation; and digital software and hand craft tools. Students create 2D and 3D forms and learn how to use materials in design projects.

CDE 2090 Design Studio I
R. McVearry
Course content focuses on visual hierarchy, principles of composition, design principles, and intro to Semiotics. Typography, form, image, space, and the grid are explored through projects. Students learn an iterative design process to explore and develop concepts. This course requires a high level of execution through precise craftsmanship.

CDM 2280 Interactive Web Design I
J. Carmody
Designed to give you valuable real-world skills, this course explores industry-standard best practices as you learn HTML5, CSS3, JavaScript and open source libraries & software such as Bootstrap and jQuery. You'll construct flexible-grid information hierarchies; build navigational components; design responsive layouts for tablets and mobile; create data visualizations with live data; experiment with web typography, and deliver interactive maps, timelines, images, audio and video for the web. This course assumes no prior design, coding or software experience.

CDM 2300 Motion Graphics I
TBA
Motion graphics and visual effects for animation, digital video, and film using Adobe After Effects. Visual storytelling through kinetic sequencing, using images, type, and sound. Students learn to create and communicate with pre-visualization tools such as storyboards and style frames before animating in the timeline. Asset management, timeline workflow, keyframes, sound, compositing techniques, basic keying, effects, lighting, and camera use. Projects cover all facets of motion design and narrative storytelling from conceptual design to final production.
*Prerequisites: CDE 1090 or CDM 1200.


CDM 2320 Digital Illustration I
M. Pacheco

This course will take drawing skills to a new level by producing professional quality digital illustrations for print and web. Students will gain knowledge and experience in the application of traditional illustration to digital media, using primarily Adobe Photoshop and Illustrator. Concept development and personal style will be the main focus. Critiques will consider composition, lighting, content, meaning and other constructive criteria.

CDM 3090 Digital Media Design Studio 3
M. Guastaferro
Mood boards, storyboards, style frames, video editing, narrative structure, animation, and motion graphics for the network television industry. Design and animation methodology, processes, language, and the critique process. Project workflow, professional presentation, and professional practices for designers and animators are integrated into course projects. The semester long course project is a network ID package that includes a 10 second open, bump in, bump out, lower thirds, and in-show transitions . Adobe After Effects and handcraft tools.
*Prerequisite: CDE 2091. Restricted to undergraduate Digital Media Design majors.


CDM 3320 Digital Illustration II
M. Pacheco

This intermediate course focuses on the visual communication art of illustration. Through course content and projects, students will create drawings at a fast pace, and apply these drawings to visual story development by composing graphics, concept art, covers and other application techniques for a variety of media which includes print and web. Refinement of digital illustration skills from CDM2320 Digital Illustration 1 will be a focus pushing Adobe Photoshop with Adobe Illustrator to high standards and a professional level. InDesign will also be used to incorporate design through page layout.
*Prerequisite: CDM 2320.

CDM 4090 Digital Media Design Thesis
M. Guastaferro
The senior thesis project includes conducting research, writing a thesis paper, interviewing a motion designer or animation professional, writing a script, and designing a thesis animation. Discussion and critique of motion design and animation's role in contemporary culture, commerce, and social identity. This is the culminating project for the B.F.A. in digital media design.
*Prerequisite: CDM 3091. Restricted to design majors.


CGD 2050 Typography I
TBD
This course introduces students to one of the most integral components of visual communication- typefaces and their letter forms. Topics covered include typographic vocabulary, terminology, history, technology, classification, measurement, and syntax. Students will be introduced to typographic history, nationality, and technology. Students will learn visual hierarchy and the grid as organizing principle and system.

CGD 3090 Graphic Design Studio III
N. Hill
Mood boards, storyboards, style frames, video editing, narrative structure, animation, and motion graphics for the network television industry. Design and animation methodology, processes, language, and the critique process. Project workflow, professional presentation, and professional practices for designers and animators are integrated into course projects. The semester long course project is a network ID package that includes a 10 second open, bump in, bump out, lower thirds, and in-show transitions . Adobe After Effects and handcraft tools.
*Prerequisite: CDE 2091. Restricted to undergraduate Digital Media Design majors.


CGD 3960 Design Lab I
TBD
This course offers a select group of undergraduate junior and senior graphic design students the unique opportunity to design and oversee production of projects for the Corcoran School of the Arts & Design. Design Lab serves as an in-house design studio as students gain experience interacting with clients, managing deadlines, understanding and working within the limitations of their projects, and scheduling timelines. Elements of the design process covered in the course include writing design briefs and contracts, conceptual and design development phases, producing print-ready artwork, and fabrication coordination and supervision.

CGD 4090 Graphic Design Thesis I
J. Severtson
Graphic Design Senior Thesis is comprised of three components: written paper, interview of a design professional, and a final graphic design thesis project. In this course, students select a topic related to the field of Design, develop a thesis statement and written paper through a research and writing phase. Graphic Design briefs pertaining to the development of the written thesis and paper are explored during the semester. This course is for BFA/Graphic Design only.
*Prerequisite: A grade of "C" or better in CGD 3091 Graphic Design Studio IV; or Department Chair's approval.


CGD 4120 Environmental Design
J. Severtson
Using the environmental sign as a medium, students will explore the reading of the environment and the unique messages within it. Lectures and projects will introduce typographic connotation, semiotic theory, and image communication as design tools, approaching the sign as a transmitter of information and cultural identity as well as a vehicle for participation and play. The semester long project focuses on environmental design, architecture, and branding for a Museum in the non-profit market sector.
*Prerequisite: A grade of “C” or better in CDE2091 Design Studio II.

CIXD 2090 Narrative Media for Interaction
S. Rigg
This course examines a variety of narrative/journey visualization and organization tools, including universal modeling language, graphical mapping, and storyboarding. Students will also engage with basic media production tools such as recording and editing video footage for ethnographic research.
*Same as FA 3901.82

CIXD 3201 Topics in Interaction Design: Sculpture Interactive Digital Forms
K. Patton
Interactive Digital Forms is about animating space and objects through physical computing. We will explore Interactive art as a process that seeks to engage the viewer/listener by incorporating their presence, movement, and responses into the design of an object or experience. This is an advanced course and students are expected to have facility with the creation of 3 dimensional forms or advanced skills in media creation. The course will focus on activating these forms via technology. Emphasis will be placed on the seamless incorporation of technology into the art experience and on a well-considered approach to interaction design and interactive art.
*Same as FA 3201.81 

CIXD 6010 Designing for Service Interactions
TBA
This course addresses the rise of the service economy across all sectors. Students work towards generating innovative interactive design solutions and undertaking effective strategic decisions connected to the design of services and experiences.

CIXD 6011 Narrative Media Design: Communication and Storytelling
TBA
This course explores narrative as a way to conceptualize, communicate and evaluate interactions across design contexts and media and utilizes key aspects of narrative such as point-of-view, scenario, setting, plot, and event structure as a method for framing and analyzing designed interaction.

CIXD 6080 Engagement Lab
K. Patton
Each semester, the core of the IxD MA program takes place in the Engagement Lab. Project teams collaborate with a community organization or local partner to identify and respond to local challenges that might be addressed through interaction design processes and skills. Students and faculty work to gain a systemic understanding of those challenges and investigate the histories that have led to the current moment. The teams then engage community members as partners in the process of designing tools and systems that can address those challenges. Students will focus on prototyping responses while evaluating from an at-scale perspective (keeping in mind goals and metrics identified in conversation with the community partners).
For Fall 2018, our community partner is the Library of Congress Labs. The question they have posed to the class is how to create better access to both the data as well as the special collections of the Library o Congress. We will develop responses to this collaboratively. The engagement lab operates like a design start-up where independent work and creative imagination is at the center of its success.

IA 1000 Dean's Seminar: Modern Architecture: Creative Thinking and Cross-Cultural Perspective
S. Travis
This G-PAC Arts course is capped at 19 freshman students, and open to all majors.  It will introduce students to the history of modern architecture and design through the context of key buildings of the 20th/21stCentury.  Students will learn the leaders in architectural history, as well as innovative contemporary designers working today. Through lectures, readings, discussions, guest speakers, film clips, and field trips, an overview of the most iconic modern architecture, interiors, and furniture will be explored and critically examined.  

IA 3200 Studio 2
S. Jones or A. Raimond
This course covers all phases of design, beginning with development of a concept through producing a complete presentation. Students learn how to implement the different aspects of the design process as a project evolves from program requirements to a creative and functional interior.

IA 3225 Understanding Materials and Color
S. Jones
This course is a study of both the visual perception and interaction of color, and interior and exterior materials for residential and commercial environments.

IA 3250 Introductory Digital Design Drafting Tools
E. Speck or S. Reynolds
This course is an interactive hands-on course focusing on integrating Computer Aided Drafting (CAD) technologies with the design process. The second half of the semester concentrates on Revit and its inherent three dimensional capabilities.

IA 4400 Studio 4
TBA
This course is an investigation of design through the development of multi-faceted, larger-scaled, and more complex design problems.

IA 4425 Fundamentals of Lighting and Acoustics
E. Speck
This course explores the characteristics of lighting systems and acoustics and their applications to interior environments.

IA 4450 / 4450W Pre-Design for Studio 5
TBA
Students synthesize knowledge and define an area of interest that is well established or newly emerging within the discipline in preparation for the capstone project in Studio 5. This course is a WID course.

IA 6100 Studio 1 Graduate
L. Ghannam
This course introduces the theory and application of design principles and elements to the specific studies of the built environment while establishing a thorough understanding of the design process.

IA 6125 Graphic Communications
J. Bonness
This course introduces students to a variety of techniques used in communicating design ideas. These skills include image creation, basic layouts, rendering, modeling, printed and digital presentation skills.

IA 6150 Sketching Architecture and Design
M. Abrams
This entry level course is an intensive program of study that will introduce students to graphic skills used in the practice of Architecture and Interior Design. These skills are both technical and artistic. They include freehand sketching, (3D) mechanical drafting, architectural lettering, field measuring and documentation, field sketching, orthographic and perspective drawing, and informal and formal drawing presentations.

IA 6400 Studio 4 Graduate
N. Volchansky
Continuation and refinement of the design process to further advance conceptual thinking for development of larger-scaled and more complex design problems.

IA 6425 Lighting and Acoustics
E. Speck
Course focuses on terminology, concepts, and principles of lighting design; acoustic principles as they relate to building design.

IA 6450 Research Seminar for Studio 5
C. Filipescu
Students synthesize knowledge and define an area of interest that is well established or newly emerging within the discipline in preparation for the capstone project in Studio 5.

MUS 1101 Elements of Music Theory
E. Montague
Notation, scales, keys, intervals, terms, rhythms, and chord structure and progression. Introduction to music literature, with emphasis on rudimentary aural analysis.

MUS 1102.10 Comprehensive Musicianship I
P. Carluzzo
Aural and keyboard skills development through dictation, sight singing, and performance and improvisation at the keyboard.
*Prerequisite: MUS 1101


MUS 1106 Introduction to Music Performance and Experience
D. Boyce
A once weekly seminar that explores the aesthetic and historical contexts of students' performance repertoire in conjunction with a half-hour weekly private lesson.


MUS 2106 Music History III: 20th-Century Art Traditions
K. Ahlquist
Western musical traditions and styles since Romanticism and approaches to music as art in contemporary society.
*Prerequisite: MUS 1101


MUS 2123 Black American Music
C. Lornell
Musical genres and styles developed by African Americans since Reconstruction in their historical and cultural contexts. Emphasis on black musical contributions to the cultural life of Washington, D.C.

MUS 2661 Electronic and Computer Music I
P. Carluzzo
Fundamental electronic and computer music concepts. Analog and digital sound synthesis techniques, signal processing, properties of sound, acoustics and psycho-acoustics, history and aesthetics. Laboratory fee.

MUS 3127 Music History II: Tonal Era
K. Ahlquist
Styles, structures, social foundations and aesthetic change in European music of the late 17th through the late 19th centuries.
*Prerequisite: MUS 1102


MUS 3139 Form and Analysis
E. Montague
Analysis of musical forms in representative music literature.
*Prerequisite: MUS 2101 or equivalent.

 

MSTD 1000.10 Dean's Seminar: The American Museum
K. Rice
Using Washington, D.C. museums as our landscape, this Dean's Seminar will introduce students to the history of the museum in the United States, examined both as a particular institutions with a system of practices, norms, and ethics, and as part of American cultural history. We will then move on to examine the contemporary museum and its functions including exhibition development, collections management, object conservation, museum management, and museums and technology. The course will end with a look at the most current ideas about museums and communities, and museum involvement in issues of social justice and social change. The course will include trips to local museums and discussions with practicing museum professionals. 

MSTD 6101 Museum Management
M. van Balgooy
An overview of the major activities in governing and managing a museum. Course introduces the student to the non-profit sector and the context of the legal and professional expectations for governance. Course covers the elements of forming a museum, strategic planning, the role of the CEO/Director, building the organization structure and staffing. Finance, operations, and facilities management are also covered. The course also includes sessions on fundraising, grant writing, business planning, special events, programs, performance measurement and accreditation, marketing, public relations, and managing change. A strong emphasis on ethical challenges and decision making is included.
*Taught at the Smithsonian Institution

MSTD 6104 Managing People and Projects
M. van Balgooy
Dealing with people is an area consistently mentioned as a major challenge for museum managers. Students study organizational behavior theory, the methods of building a motivated and skilled staff, and focus on the team process. Project management systems are taught including developing scope, schedule and budget, team dynamics, resource leveling, and working within a matrix environment. The role of the project manager is emphasized along with tools for managing change and negotiating conflict. Case studies are presented by practitioners working in museums today.

MSTD 6201 Museum Collections
L. Schiavo
This class will serve as an introduction to creating, controlling, and protecting collections. We will look at the fundamentals of collections care (collections plans and policies, accessions, deaccessioning, loans, access, and the physical protection of museum objects) as well as legal and ethical issues related to collecting and collections management. Because guidelines to best practices run up against contingencies ‘on the ground,’ case studies will introduce students to challenges encountered in museum practice.

MSTD 6203.80/DE Preventive Conservation Concepts
C. Hawks / S. Sturman or M. Coughlin
Historical development of preventive conservation in museums, conservation ethics, team approaches to conservation, interactions of various materials with agents of deterioration. Basics of materials testing, preparation of condition reports, choosing museum storage and exhibition materials, and risk assessment.
*Same as ANTH 6203 and AH 6286.


MSTD 6204 Preventive Conservation Techniques
M. Coughlin
Builds upon topics introduced in the Preventive Conservation Concepts course with emphasis placed on practical exercises and ethical issues. Students will learn how to evaluate and monitor collections, how to prepare a grant for collections care, and how to develop and implement policies and procedures to facilitate collections care.
*Prerequisite: MSTD 6203 (or its cross-listed equivalent in Fine Arts/Anthropology).
*Same as ANTH 6204 and AH 6287.

MSTD 6301 Museum Exhibition Curatorial Planning
K. Rice
The class focuses on the work of curators in the selection, display and interpretation of objects for collections and in exhibitions. Sessions emphasize ethics and collecting, exhibit conceptualization and development, working with the community, the production of meaning, and the politics of exhibiting.

MSTD 6302 Museum Exhibition Design
A. Hornish / B. Brennan
Participants will focus on translating museum exhibition concepts into specific plans, models, and specification documents in this introductory class. Different computer design and graphic programs are introduced.

MSTD 6403 Museums and Digital Technology
S. Anderson
In many museums, digital technologies are now a naturalized and expected presence–core to the institutional approaches to problem solving. In the post-digital museum, technology and digital media are not considered as ends in themselves, but rather, as the means that helps the museum meet its mission and goals. Technology is not neutral, however. It has its own histories, both within and outside museums that impact its adoption within the museum. Museums began using digital technologies in the 1960s, and this has affected how museums work and how they define themselves. This course will explore the relationship between museums and digital technology, considering how and why it has been incorporated into practice.

MSTD 6501.10/.11 Museum Internship
L. Schiavo
Supervised practical training in Washington area museums (or elsewhere). Internships are supervised by one or more members of the sponsoring museum staff and focus on a variety of areas including museum management, conservation, collections management, exhibition design and development.
*Prior approval required.

MSTD 6502.10/.11 Directed Research
L. Schiavo
Individual research on special topics in the museum field working with a MSTD professor or outside museum experts. Topics must be approved in advance by MSTD.

MSTD 6601.10 Special Topics: Critical Visitor Experience
C. Hawks / S. Sturman
As museums become increasingly visitor focused, it is critical to understand the multiple factors that affect the whole visitor experience. What is the impact of museum architecture on the museum visit? How do the museum’s shop, café, and other non-exhibit spaces inform the visitor experience? In this field-trip based course, students will utilize multiple frameworks through which to explore, observe and critique visitor-facing aspects of museum work. Together, we will examine and analyses the impact of museum architecture, entry and exit experiences, the shop, café, and other non-exhibit spaces, exhibit design and content, signage and wayfinding, staffing choices, and pre- and post-visit information on the whole museum experience. Expert guests from a variety of backgrounds will join us to unpack the choices made within the museum, to help form a comprehensive understanding of the multiple aspects of audience experience. Through close-looking and comparative analysis, students will learn how to understand and interpret the influences that shape the visitor experience in order to better think of the visitor within their own work, and to consider how the whole museum experiences works together. Core to this class will be reflection, critical analysis, and synthesis. Students will engage with the museum intellectually, creatively, emotionally, socially, and physically.
*This course is taught at the Smithsonian.

MSTD 6601.11 Special Topics: Museum Governance: Board Management
K. Southern
Good governance with an informed diverse board and an effective board-staff partnership are central to the success of every museum. As a basic component of the museum professional’s experience, everyone from the director, to the curator, to the educator, to the collections manager, to museum management, will have the responsibility of working with members of the board through special projects, their museum departments and trustee committees. To ensure the success of these experiences, strong working relationships between board and staff and an understanding of respective roles and responsibilities will be essential. This course will cover the role and responsibilities of the board and the elements of a successful staff - board partnership. Case studies from the museum community and guest speakers will exemplify these topics. Course sessions will include: role and responsibilities of the board; staff-board partnership; board oversight and accountability; legal and financial responsibilities; ethical concerns: board organization and operation; the board role in mission, policy, planning and evaluation; fundraising responsibilities; the board role in advocacy; and board leadership in diversity, equity, and inclusion.

MSTD 6701 Museum History and Theory
S. Anderson
More often than not, museum practitioners and theorists speak at cross purposes. This course will take steps to bridge that gap. We will first explore the origins of the modern museum and the history of (mainly) American museums. Then, using U.S. and non-U.S. examples, we will engage with theorists whose ideas have been accessed to inform our understanding of museums as places of meaning making, power, empowerment, and cultural authority, and as “contact zones” (James Clifford, 1997). As the theory informs our understanding of how museums have functioned – both in the past and in more contemporary examples –we will be better prepared to engage critically with our own work as museum practitioners.

CPH 1090 Photography Fundamentals I
D. Kessmann
Students will be introduced to the materials and processes of black and white photography. The course will cover camera operations, film processing, enlargement printing, and presentation methods; students will expose, develop, and print all of their own images. The technical skills learned during the first half of the course will be the foundation upon which more complex visual communication may take place. Throughout the second half of the semester students will utilize their newly acquired skills to address issues concerned with the visual language of photography. Information will be conveyed through traditional readings and demonstrations, but more importantly, students will discover a new window through which to frame a variety of subjects in order to construct meaning. The projects will pose questions and problems for students to solve through the medium of black and white photography.

CPH 2090 Photography/Photojournalism Studio I
M. Eich
Students explore personal sources of image making, strategies for editing, and different ways of seeing while refining their technical abilities. Assignments provide a structure for individual expression and interpretation while developing an awareness of photographic traditions, including photojournalism and documentary modes, and of the current state of contemporary practices. Students develop confidence and rigor in their approaches within an atmosphere of exploration and risk-taking. Fine-art photography and photojournalism students meet together and participate in frequent group and individual critiques, which promote intensive dialogue and proficiency in critical thinking.

CPH 2100 Media Lab
F. DiPerna
Description coming soon

CPH 3070 Studio and Location Lighting
B. Tankersley
This course is an introduction, and exploration of studio and location lighting. An overview of lighting equipment will be followed by specific demonstrations, applications, and on going student “light testing”. Students are expected to complete light testing assignments on a weekly basis, and explore lighting techniques through still life, self-portrait and portrait session in the studio and on location.

CPH 3090 Photography Studio III
K. Akey
The focus of this course will be exploring the connections between ideas and photo-based techniques, as well as process and content.  Students will be challenged to incorporate appropriated images, taken from various sources (popular culture to historical archives) into their final projects. These explorations are the basis for discussions, assignments, field trips, and critiques. Students also study theory and criticism, with related assignments designed to promote a better understanding of the critical process. Students are encouraged to develop their own voices and to take responsibility for their own ideas through various strategies for the sequencing, construction, presentation, and existence of their work in different contexts.

CPH 3120 Photography/Photojournalism Seminar I
J. Turner Frey Seawell
This departmental seminar reflects on and reinforces issues of topical concern to photographers and photojournalists, as an adjunct to students' studio coursework. Topics will vary from year to year and when possible will be based on museum exhibitions, publications, and contemporary culture and events.

CPH 3800 Independent Study: Photography
C. Montoya
Description coming soon

CPH 4090 Photgraphy Thesis I
A. Gupta
Description coming soon

CPH 4120 Photography/Photojournalism Seminar II
S. Sterner
Description coming soon

CPJ 3090 Photojournalism Studio III
A. Riecken
This class guides you through the process of discovering subject matters you care most about. It will furthermore help you to translate your ideas and concepts into cohesive and compelling photojournalistic projects and focus on developing and strengthening your individual photographic styles. These processes incorporate strong ethical guidelines, following strictly the National Press Photographers Association's (NPPA) code of ethics. 
Additionally, you will continue your training to become a visual reporter through weekly, deadline-driven assignments, and one self-assigned semester-long project. You will learn how to write compelling short news articles for your projects and furthermore trained to craft excellent captions for your photographs. Mandatory field-trips during early mornings and late afternoons will exercise and strengthen your sensitivity for light.

CPJ 4090 Photojournalism Thesis I
A. Gupta
Description coming soon

CPJ 4340 / 7340 Project-Driven Website Design
J. Mole
Description coming soon

CPJ 6010 Photojournalism Grad Seminar I
S. Sterner
Description coming soon

CPJ 6050 Advanced Multimedia Lab I
S. Elfers
Description coming soon

CPJ 6100 Research, Reporting & Writing
M. Roig-Franzia
Description coming soon

CPJ 6110 Story and Narrative
M. Frankfurter
Description coming soon

CPJ 6900 Internship: MA New Media Photojournalism
S. Sterner
Description coming soon

CPJ 7010 Photojournalism Grad Seminar III
H. Yeager
This course will support and challenge New Media Photojournalism students in the conceptualization, research, reporting and writing of the NMPJ thesis reporting and visual review essays. Using case studies, writing assignments and in-class exercises, the course will address the essential elements of effective and ethical longer-form reporting and writing in both print and online media.

CPJ 7320 Fine Printing Technique
F. DiPerna
Description coming soon

CPJ 7800 Thesis Workshop
S. Sterner
Description coming soon

CPJ 7815 Thesis Travel Project
S. Sterner
Description coming soon

FA 1501.10/.11/.12 Black and White Photography
O. Alston or M. Adams or C. Chao
Description coming soon

FA 1502.10/.11/.12/.13 Color Photography
J. Sakai or K. Carr or M. Eich or M. Adams
Introduction to the materials and processes of digital color photography. Color theory, exposure techniques, digital color correcting, and printing. The use of color as a means of visual communication and creative expression.
This course has been designed for students who do not
have any technical understanding or previous experience with color photography using manual settings on a digital SLR camera. It will cover camera operations, image editing, archival inkjet printing, and presentation methods; students will expose, edit, and print all of their own images. The technical skills learned during the first half of the course will be the foundation upon which more complex visual communication may take place. Throughout the second half of the semester students will utilize their newly acquired skills to address issues concerned with the visual language of photography.

FA 6501 Special Topics in Photography: Appropriation / Archival Impulse
K. Akey
The focus of this course will be exploring the connections between ideas and photo-based techniques, as well as process and content.  Students will be challenged to incorporate appropriated images, taken from various sources (popular culture to historical archives) into their final projects. These explorations are the basis for discussions, assignments, field trips, and critiques. Students also study theory and criticism, with related assignments designed to promote a better understanding of the critical process. Students are encouraged to develop their own voices and to take responsibility for their own ideas through various strategies for the sequencing, construction, presentation, and existence of their work in different contexts.

TRDA 1015 Understanding the Dance
D. Tai Soon Burgess
This course surveys dance as cultural, spiritual, creative and aesthetic expression. Students develop and enrich their appreciation of dance by exploring its symbolic, kinesthetic, physical, artistic and compositional aspects. The course is designed to challenge, strengthen and enhance a personal aesthetic for viewing, discussing and critiquing dance as an art form. Dance is explored through an in-depth look at historical movements and figures in the context of various genres (ritual, court, modern, jazz, ballet, hip-hop), composition, choreography, movement experience and technology. Students are expected to contribute to the course through active and collaborative participation, academic reading, discussions and individual learning.

TRDA 1020 Women and the Creative Process
M. Buckley
Focusing on the second half of the 20th century and the beginning of the 21st, this interdisciplinary course will explore questions of aesthetics and creativity through the study of art produced by women. The creation, meaning, and impact of work across the visual art, dance, theatre, and music fields will be examined through readings, lectures, live performances, and attending art events.
*This course is intended for Women's Leadership Program students only. Instructor approval required to register.

TRDA 1025.10/.11 Understanding the Theatre
B. Largess
Description coming soon

TRDA 1035 Theatre Production
TBA
Description coming soon

TRDA 1151 Beginning / Intermediate Ballet
I. Wunder
An introduction to the basic technical principles and theories of ballet as an art form. The course emphasizes
bodily awareness, musicality, vocabulary, dynamic alignment, and functional rotation. Course work includes
movement (with detailed explanation and demonstration by the instructor), readings and written essays
other assignments. Laboratory fee.

TRDA 1152 Beginning Modern / Post-Modern Dance
G. Ruzany
This class introduces students from zero to intermediate levels of experience to improvisation, composition and choreography. All levels explore how to break from habitual movement and find authentic, intentional and embodied dance.  Warm up includes mindful movement research, floor work and basic contemporary ballet technique.  Final exam will be a group performance.

TRDA 1170.10/.11 Intermediate Modern / Post-Modern Dance
D. Tai Soon Burgess
This is an intermediate level contemporary dance technique class focusing on the refinement of dance skills in order to encourage each student to move toward his or her full-movement potential. Through an hour and a half dance technique class, three times a week, the student will focus on proper alignment while being introduced to new and complicated movement theories, which will increase the student’s technical awareness. Focus is placed on increasing dance performance and creativity skills. Students will be required to see an off-campus and an on-campus dance performance and take part in class discussions regarding both assignments.  Students will also write a reflective paper to assess through critical and creative thinking, what they have learned in the course.  Additional reading and viewing assignments will occur throughout the semester.
*Repertory is not open to incoming first year students. One has to be cast in a faculty or guest artist work. 

TRDA 1214.10/.11/.12 Beginning Acting
E. Kitsos-Kang or J. Kanter
Description coming soon

TRDA 1240 Performance Theory
J. Kanter
Description coming soon

TRDA 1330.10 Basics of Production Design
J. Traub
Description coming soon

TRDA 2172 Intermediate / Advanced Modern / Post-Modern Dance
TBA
An Intermediate Advanced contemporary dance class that focuses on further refining dancer skills including
performance skills, musicality, creativity and complicated dance phrasing.May be repeated for credit.
Laboratory fee.
*Prerequisites: TRDA 1171 or permission of the instructor.

TRDA 2185 Trends in Performance
M. Withers
Study of the theory and practice of contemporary performance art movements and artists; political and artistic activism; scripting and scoring to create performance works based on a single art discipline or interdisciplinary arts. Active creating of performance projects weekly. Laboratory fee.
*This class is available to all art students (history, theory, and practice).


TRDA 2188 African Dance
B. Cacho
African/Caribbean dance styles and techniques, with warm-ups and center floor work of long and short
movement phrases. Basic/modern/jazz terminology and definitions appropriate to
intermediate/advanced/African dance are used. Emphasis on alignment, execution, musical phrasing, and the
importance of rhythmic timing and nuance.

TRDA 2192 Repertory / Performance
TBD
Participation in the processes of learning and performing dance repertory or new dance works by dance
faculty or guest artists. Audition required. Laboratory required. May be repeated for credit. Laboratory fee.

TRDA 2195W Global Dance History
L. Gray
The history of Western theatrical dance from the late eighteenth century to the present. The major
choreographers and their dance works through readings, lectures, video, and discussion. Includes a
significant engagement in writing as a form of critical inquiry and scholarly expression to satisfy the WID
requirement.

TRDA 2215 Intermediate Acting
TBA
Description coming soon

TRDA 2240 Play Analysis
A. Currin Stokes
How do plays work?  What is the relationship between text and theatrical performance?  How can we move words on a page to a fully-realized expression of that text through analysis, design, performance and direction?  This course assumes that all plays are not finished works: they exist to be performed.  Our collective job over the semester is to uncover what the playwright has already fashioned, and translate it into the communal theatrical form.  Through discussion and research we will discover what the play might have accomplished in its own time.  Then we will translate the playwright's message in terms of our own modern theatrical preferences via discussion, written analysis and scene work.
*Same as ENG 2240

TRDA 2339.10/.11 Theatre Practicum
J. Traub
Description coming soon

TRDA 3131W Theatre of Social Change
L. Jacobson
All theatre is political – it either supports or challenges the status quo.
This idea will be tested through our semester together. Theatre gives the audience – and the performers – opportunities to experiment with
a variety of life choices, and to experience individual and societal challenges in a safe creative space. This course will focus on theatre of social change as practiced in the 20th and early 21 st centuries. Together, we will explore case studies from South Africa, Europe, and the US. You will research and write about a particular play, theatre company, or practitioner using theatre to effect societal change. And you will create and perform, individually or with others in the class, a final project that is a piece of social action theatre.
*This course satisfies a “CCAS Writing in the Disciplines” requirement.

TRDA 3174 Advanced Modern / Post-Modern Dance
TBA
Description coming soon

TRDA 3182 Dance Composition
M. Withers
Problems in structural and conceptual aspects of constructing dances and shaping and forming movement materials. Laboratory fee.
*Prerequisites TRDA 2180 Movement Improvisation and TRDA 2185 Trends in Performance Art.

TRDA 3186 Dance Anatomy & Kinesiology
G. Ruzany
This is an experiential course that exposes students to anatomy while exploring how to visualize and embody the information through movement research, somatic investigation and self-reflection.  Weekly assignments that includes reading, watching videos, researching and filling up questionnaires should be expected.  There will be a final presentation on a topic of choice.

TRDA 3245/3245W History of the Theatre I
B. Largess or A. Currin Stokes
The work in this class will focus on how and why certain plays could only have come from specific historical moments - how the ideologies, priorities, politics, struggles and economic realities of specific periods combined to create a distinctive artistic footprint.  In order to achieve this understanding, it will be the students' job over the course of the two semesters to visualize the history of bygone cultures, and to examine the theatrical art generated by those worlds without contemporary bias.  The structure of the course is not chronological: rather, it tracks theatrical trends (Ritual, Spectacle, Politics, Popular Entertainment, Experimental Movements, Theatre for the Elite, etc.) over time.  It is ultimately incumbent on the student to chart the influences and trends, the artists and the movements, the plays and the dramatic expressions, over time, and place them on a clear and readable timeline.
*This course is 2 semesters, with History of Theatre II offered in the spring

TRDA 3331 Introduction to Lighting
C. Gudenius
Description coming soon

TRDA 3332 Theatrical Makeup Design
TBA
Description coming soon

TRDA 4184 Choreography and Performance
M. Withers
Create a dance or a performance work of individual design, including casting, rehearsal procedures, staging aspects, and public presentation. Laboratory fee.
*Prerequisites: TRDA 2180 Movement Improvisation, TRDA 2185 Trends in Performance Art, and TRDA 3182 Dance Composition.
*Recommended background: TRDA 1330 Production design.
*May be repeated for credit. 

TRDA 4275 Directing for the Theatre
J. Kanter
Description coming soon

TRDA 4296.10/.11 Independent Study
J. Kanter
Independent research and special projects. Open to qualified juniors or seniors majoring or minoring in
theatre or dance. Before students are permitted to register for TRDA 4596, they must submit a written
proposal of the plan of study and obtain approval of the faculty member who is directing the study and the
department chair.

TRDA 4599 Honors Project
J. Kanter
Directed research and/or creative project. Open to qualified seniors by permission. Arrangements must be
made with a sponsoring faculty member in the department and applications must be completed early in the
second semester of the junior year.

TRDA 6336 Intermediate Costume
S. Johannesdottir
Description coming soon

TRDA 6344 Production Drafting
C. Gudenius
Description coming soon

TRDA 6596 Independent Research in TRDA
C. Gudenius
Description coming soon

TRDA 6598 Internship
C. Gudenius
Description coming soon

TRDA 6997 Production Design Practicum
C. Gudenius
Description coming soon

TRDA 6998/6999 Thesis Research
C. Gudenius
Description coming soon