Go to the NYU Registration site for a complete listing of courses, course numbers, and call numbers.
Go to Albert to register online.

Please note that the Art Department courses are now listed in five different sections on Albert:

• Art (E90) for all the studio classes (undergraduate and graduate)
• Art Education (E92) for all graduate level art education classes
• Art Theory and Critical Studies (E94) for all art department history and critical theory classes (undergraduate & graduate)
• Art Therapy (E97) for all graduate level art therapy classes
• Visual Arts Administration (E91) for all visual arts administration courses (undergraduate & graduate)
  
  

FEATURED CLASSES FOR FALL 2009
Listed alphabetically.
Course numbers that begin with E9_.0 / E9_.1 are for undergraduate students only.
E9_.2 are graduate level.

Advanced Projects in Art & Media: “Performance and Photo/Video”
Instructor: Clifford Owens
E90.1954/2954
M 5:45 -9:05 pm
Open to Art Majors only with Graduate, Junior or Senior standing. Prereq: Video II or Photo II.
This class will utilize each student’s body in situ or in photography or video to demonstrate issues that transcend the particular aura of the individual and spread ideas into and from culture.

Contemporary Art: The East Village...Up is Up (But So Is Down)
Jason Murison
E94.0052
M 6:45 – 9:30
Open to all undergraduates
Taking cues from a recent interest in the various activities that took place in the East Village from the late 60's through the late 80's, the course will observe the material remnants of a scene (scenes) at once Artistic, Literary, Cinematic, Avant Garde, Pop and above all Punk. Using the wealth of information present in the Fales Library archives as a start, a survey of this material will describe the histories that watched NYC transform from the archetypal local community into the archetypal global community.

Interdisciplinary Projects: Sex and Contemporary Art
Kathe Burkhart
E90.1022 section 001
M 12:30-3:50
Open to Art Majors only others by permission of undergraduate advisor. Prerequisite: Visual Arts Praxis or equivalent.This interdisciplinary class combines studio practice and critique with slide lectures, readings, audiovisual material and visits to relevant exhibitions. The course presents an introduction to the relationship between sexual liberation movements and contemporary visual culture, with a particular focus on developments in the last thirty-five years, from Womanhouse to ‘post-feminism’; from bra-burning to backlash, from bad girls to victims, from gay pride to queer theory, and from theory to praxis. Special attention is given to the relationship between historical feminist work and its influence and derivation in contemporary art practice today. The articulation of the 'female subject', and LGBT issues in art practice will also be addressed.

Interdisciplinary Projects: Visionaries and Saboteur
Jonathan Berger
E90.1022 section 002
T 12:30-3:50
Prerequisite: Visual Arts Praxis
This interdisciplinary course focuses on how artists engage with "institutions" in contemporary culture. These many "institutions:" fashion, the museum, the store, the government, the home, and music among them, are all structures, which make up the world in which we live. We will look at how artists utilize these structures as a means to change the way we experience life and living. Each week will be geared towards a specific institution through slide lectures I will give, screenings of films, field trips, and guest artists. There will also be presentations and critiques of the work you make in response to the projects you choose to do, and presentations you will do on topics of interest to you.

Interdisciplinary Projects: Contemporary Art, Practice and Creativity
Prof. Ross Bleckner
E90.1022/2010 section 005
M 5:45 – 9:05 PM
Open only to MFA students. BFA senior art majors may be permitted to enroll by portfolio review.
This is a seminar based on the idea of the inextricable nature of contemporary culture to a relevant artistic practice. The seminar attempts to have students better articulate the efficacy of their own creativity through discussion, guest visits, reading, critique and critique of critique(s), adventure and surprise.

Interdisciplinary Projects: Disappearing Act
Instructor: Adam Putnam
E90.1022/2010 section 006
M 7:00-10:20 pm
Prerequisite: Open only to MFA students and BFA senior art majors.
The disappearing act has long been considered to be the ultimate magic trick, on stage and off. This course will re-examine the realm of obviousness, cliché and boredom as alternate strategies for affecting this procedure both as an art practice as well as a possible act of transgression. In a culture of ever increasing diversity, can "going mainstream” become the ultimate disappearing act? At what point does the obvious become the extraordinary? Over the course of the semester we will be reading both theoretical and literary texts. Student presentations and weekly responses to readings will make up a large part of this course.

Introduction to Art Therapy
Marygrace Berberian, MA, LCSW, ATR-BC, LCAT
Wednesday 4:05-6:35 p.m.
E97.2010
This course will present the fundamental principles of art therapy practice through theoretical discussions and case presentations. Students will learn the historical development of the profession, its distinction from other disciplines and its commonalities to social sciences. This course will examine the art making processes and products through basic pictorial analyses. Students will study the artistic expression of children, adolescents, adults and geriatric populations struggling with varied emotional and physical issues in different settings.

Introduction to Galleries & Museums of New York
Vida Schreibman
Thursday or Friday 12:30-3:00 PM
E91.1002 (Friday) / 2002 (Thursday)
Open to all students.
This course will enable students to become more familiar with the vast number of visual art resources located in New York City. Through weekly site visits we will examine a variety of topical issues that relate to both the professional artist and art administrator. Informal meetings with key personnel will provide a behind-the-scenes perspective on internship and career opportunities within the gallery and museum setting.

Projects in Photography
Instructor: Dan Torop
E90.1665
W 8:55 am – 12:15 pm
Open to undergraduate art majors only. Others by permission lav1@nyu.edu. Prerequisite: two photo classes.
A photographer tries to replicate the world to find a meaning which others cannot yet see. Let’s propose an alternate history of photography, one without progress, only fascination: not to be ruled by the resolving power of the lens, only intrigued by the medium’s odd chemical/optical/mechanical/ electrical nature. Take the privilege to work with the devices of this culture, but bear an obligation towards the integrities of past creators. Make lots of photographs! Critique and editing will cull meanings, whether prescient or introspective. We’ll seek a path between moments of inspiration and realizations of the tangible. “Beautiful things,” writes Elaine Scarry, “always carry greetings from other worlds within them.”

Projects in Printmaking “Book as Art”
Instructor: Trini Dalton
M 2-5:20 pm
E90.1670/2670
Open to graduate and undergrad art majors. Others by permission lav1@nyu.edu.
Emphasizing a handmade approach to book making, this course will focus on the history of DIY aesthetics in book design with particular emphasis on collage, experimental book structures, and hand-rendered type. Art historical slide lectures about collage, revolutionary printed matter, zines, and books as sculptural objects will complement printmaking workshops in which students are encouraged to compare traditional concepts of the book with expanded possibilities. Students are expected to generate their own books for critiques, utilizing the print studio (such as letterpress or silkscreen) or other fine art mediums. The instructor will discuss how a book's structural elements support content to consider slippages between craft and fine art. Assignments investigating editorial structure, imagery, layout, typography, bookbinding, and cover design will illustrate the multiple stages involved in book coordination. Discussions of contemporary book publishers and designers will help students grasp currents and trends in today's book market. Though this course focuses on a book's visual aspects with emphasis in printmaking, textual matters are crucial in the study of book design and reading and writing will be required to underscore the fundamental connection between text and image.

Projects in Sculpture
Prof. Trisha Donnelly
E90.1646/2646
M 5:45–9:05 pm
Prerequisite: Open only to MFA students and junior/senior BFA students with three sculpture classes.
This Advanced sculpture class will use ancient Greek dramas and live enactments of the texts as sculptural forms that parallel studio practice. The class will be comprised of group critique situations as well as the reading and in-class staging (not for the public) of a number of texts in order to view the ever morphing construction of live structures within theater and the ancient sculptural thread as it arrives in contemporary art. Discussions will be the studio for the plays and readings will be the practice of the class. The class will cover the original plays as well as a few contemporary interpretations. Readings will include Sophocles, Aeschylus, Euripides, Aristophanes, Menander as well as Lyly, Racine, Mishima, and Carson; also some Archilochus, Alcaeus, Sappho and of course, Homer.

Video Art II
Instructor: Aida Ruilova
E90.1551
T/R 9:30 am – 12:15 pm
Section 001 Open to Art Majors only; section 002 open to Gallatin and Studio Art Minors Prerequisite: Fundamentals of Video, Intro to Video or equivalent.
This course will build on ideas and skills learned in Fundamentals of Video. An expansion of technical skills will be joined with advanced concepts in narrative and non-narrative video working towards several long-term projects. Opportunities for the more experimental applications of video (installation, performance, etc.) will be wed with increased technical mastery of technical and logistical concerns within the medium.

FEATURED CLASSES THAT WERE OFFERED IN SPRING 2009

Advanced Projects in Painting
Professor Maureen Gallace
E90.1930/2930
M 5:45–9:05pm
Open only to art majors or by permission of undergraduate adviser.
Prerequisite: three semesters of painting. Consideration of particular techniques allows students to broaden the range of their skills and expression. The beginning of the class will start with a 20-minute discussion of current gallery or museum exhibitions that we have seen the previous week. Critiques will be every 3rd Monday. Students will be expected to work on their own idea or projects. Professor will work with each student based on where they are in that process. Technical advice will be individual as well. If there is a need for specific assignments this will be done according to the student. A list of suggested assignments will be supplied for all students to think about. Students are encouraged to keep drawing journals and start a file of source material, including photographs taken with the paintings in mind.

Art Education in Alternative Settings: Museum, Community
& Experimental Spaces
Zoya Kocur
E90.2276, Call # 42142.
Tues. 4:55 – 6:35pm
Examination of a range of educational programs and activities directed to youth and adult audiences as implemented in museums, alternative arts venues and community-based organizations. Course discussion focuses on pedagogical theories relevant to art education in these settings, history and development of art education and its role and function in museums, current issues in museology and trends in art education in alternative spaces. Classroom lectures are supplemented by fieldwork experiences/site visits in elementary, secondary and adult programs in alternative settings.

Art Education in Museums: Museum Education as a Laboratory for
Engaging People with Art
Professor Wendy Woon
E90.2021.01
Mondays, 2:00 – 4:00 pm at MoMA
What role does education play in museums historically and today? How have strategies for engaging audiences evolved over time? In what ways does context shape the interpretation of art? What do we know about museum visitors, and how can that inform museum education practice? This laboratory class, held at the Museum of Modern Art will provide a platform for debate about the role of museums, the challenges of engaging audiences with art, and the issues facing museum education in the 21st century. Visits to the museums galleries, in addition to other art institutions will provide practical experience and insights into the field.

Art & Ideas: Contemporary Design & Society
Instructor Elizabeth Marcus
E90.2451.02
W 4:55-6:35
Design permeates every aspect of contemporary life from the cell phones we talk on, to the chairs we sit on and the i-pods we listen to. Virtually everything that exists is designed. Why and how does design play such an important role in society? This seminar examines the expanding role of contemporary design beginning with the post World War II era, with an emphasis on how design shapes current consumer culture and how consumer culture conversely shapes design. The course will analyze contemporary design in the context of architecture, interiors and the decorative arts, products, graphics, fashion, and interactive media.

Contemporary Art
Professor David Rimanelli
E90.1113.01
T 9:30a-12:15p
Required for sophomore and transfer art majors. Open only to art majors.
This class will examine the broad spectrum of contemporary art, with emphasis on some of the following issues. The lives and deaths of painting. Critical versus expressive photography. Avatars of Pop and conceptual art. Sincerity and authenticity. Institutional critique. The sociology of the art world. Is art over?

Contemporary Art
Professor RoseLee Goldberg
E90.1113.02
F 9:30 am - 12:15 pm
Required for sophomore and transfer art majors. Open only to art majors.
This course will examine the development of mostly American art from the 1970s through 2007, situating the work in its historical and social context. It will reveal the many different threads of ideas and aesthetics that run through three decades, showing the persistence of some and the momentary significance of others.

Current Issues in Art Education
Jessica Hamlin
Wed. 4:55 – 6:35pm
E90.2070
Examination of art education and its relationship to social, cultural, economic, and political processes based on an introduction to critical theory. Understanding the transformations in contemporary art and its challenges to notions of originality, creativity, and aesthetic formalism in order to envision ways of rethinking art education curricula and pedagogy in schools, museums, and other institutional art programs. This course will draw connections between contemporary art and critical pedagogy in education by exploring the work of artists who engage diverse audiences, utilize alternative and public spaces, and address topical/thematic content in their work.

Digital Art II
Professor Kevin McCoy
E90.1553.01
MW 9:30am-12:15pm
Open only to art majors or by permission of undergraduate adviser. Prerequisite: Fundamentals of Digital Art or the equivalent.
The aesthetic and personal potential of the computer for the artist is defined. Students work on individual computer projects from the planning stages through actual programming. The varieties of computer art are explored from conceptual art to computer pattern painting. Each student develops and uses a personal and visual computer style. Projects are evaluated in terms of the student’s project design objectives.

Graduate Projects: Curatorial Praxis
Professor Melissa Rachleff Burtt
Thursdays 1:30 – 3:30
E90.2012.03
Curatorial Praxis explores the historical and practical aspects of curating contemporary art exhibitions. The core of the course is a practicum where students will consider issues and. themes that will become the basis for a series of exhibitions to be presented at NYU campus sites. Students will be introduced to faculty, guest curators and art directors as well as explore a variety of influential exhibitions. Structured as a laboratory, artworks will be drawn from the NYC artist community and from the Art Department’s MFA Studio Art Program. Students will be expected to interview participating artists, write interpretive materials, develop exhibition budgets, oversee the design/installation process in collaboration with NYU/gallery staff, and determine communication strategies.

Graduate Projects: Dematerialization of the Art Market
Professor Melissa Rachleff Burtt
Fridays 10:00 am - 12:00 noon
E90.2012.02
Dematerialization of the Art Market explores art’s two most enduring art movements, minimalism and conceptual art, and how the theories and ideas that grew from this period were financially supported and aesthetically encouraged by a select group of galleries and museums. The artwork explored in this class is site-specific, conditional, and in the words of Lucy Lippard, dematerialized. How and why such work, which was anti-market and anti-institution, nonetheless found key areas of support within the commercial gallery system and in major art museums are key questions that will be investigated. A range of galleries and dealers will be examined from early Modernists such as Peggy Gugggenheim, Betty Parsons, and Sidney Janis to seminal figures such as Leo Castelli, Richard Bellamy, Virginia Dwan and Holly Solomon and others. Experimental curatorial practices of the time and the rise of artist-run spaces will be discussed. How boundaries between commerce and art making merged during this period – an aspect under-considered in many studies – will be discussed.

History of Costume IV: Contemporary Dress
Professor Nancy Deihl
E90.2064
Tuesday, 10:00-11:40
Open to graduate students. Please email nbd2012@nyu.edu for access.
The course begins with a consideration of fashion at the end of the 20th century and its importance in contemporary society. Diverse issues are explored including: the fashion designer as celebrity, globalism in production and consumption, the emergence of Asia as a fashion center, the changing relationship of fashion and subculture, sustainability and anti-fashion. Using approaches evolved from material culture and visual culture studies, fashion’s economic, artistic and cultural status is analyzed via the media, fashion presentations, apparel pieces, film and the fine arts.

History of Photography at ICP
E90.2812.01
Taught by Peter Kloehn an international artist whose photographs are inspired by anthropology and the Umbanda religion. Kloehn has exhibited his work in the US, Argentina, and Brazil. The course is a comprehensive history of photography course. It is a slide course taught critically and contextually, with the primary reference to art history in its analysis of photography mostly concerned with the 20th Century. Although not a theory course, it introduces various theoretical approaches and discusses important issues necessary to the evaluation of imagery.

Integrating Liberal Arts
Instructor Keith Mayerson
E90.1995
Mon 12:30-3:50pm
Required for senior art majors. This class investigates issues, texts, and cultural production of the past in order to forge a fresh discourse for the future. Specifically, we look at ideas and works that were inspired by (or were the artifacts of) modernism through a post-modern filter to create a new sensibility of a post post-modernism. A large component of the class involves the creation and production of a group off-campus art show-all students are required to dynamically participate. This is a heavy reading and writing course, with a thesis due at the end of the semester. Only serious students, prepared to do all the work, fieldtrips, and organizing required for the class are invited to enroll.

Interdisciplinary Projects: Contemporary Art, Practice and Creativity
Professor Ross Bleckner
M 5:45 – 9:05 pm
E90.1022 Section 004
Open only to senior art majors by portfolio review.
This is a seminar based on the idea of the inextricable nature of contemporary culture to a relevant artistic practice. The seminar attempts to have students better articulate the efficacy of their own creativity through discussion, guest visits, reading, critique and critique of critique(s), adventure and surprise.

Interdisciplinary Projects: Environmental Art Activism
Professor Natalie Jeremijenko
Tuesdays 9:30 am – 12:50 pm
Open to all students. Undergraduate Students enroll in E90.1022; Graduate Students enroll in E90.2010
Contemporary environmentalism is an issue dominated by scientific, technical and policy discourse. Examples include lists of endangered and extinct organisms; metrics for quantifying the value of biodiversity; LEEDS ratings for improving the environmental performance of the built environment; carbon trading and emissions monitoring for air quality; alternative energy research, and many other market based incentives and strategies. The terms of this political environmental discussion begs the questions: what role does and can art practice play in contemporary environmental movement? What kind of force is contemporary art practice in the cultural imaginary of social change? What have artists contributed to contemporary urban environmentalism? And what is the Hudson River School 2.0?

Interdisciplinary Projects: Film As Art
Instructor: Amy Granat
E90.1022/2010 Section 003
Wednesdays 9:30 am – 12:50 pm
Undergraduate art majors (or other undergrads by permission of the UG Advisor) enroll in E90.1022. Graduate students enroll in E90.2010.
Using traditional film techniques students will explore a versatile medium that is increasingly a site of investigation for artists either seeking the origins of non-linear film making or looking to expand their knowledge of film using older analog techniques. The class will include discussions of analog film techniques, shot construction, cuts and the theoretical background and history of experimental film.

Interdisciplinary Projects: Portfolio
Professor Gerald Pryor
Wednesdays 12:30-3:50 pm
E90.1022 Section 004
Open to junior and senior art majors and senior Gallatin art students only; others by permission of undergrad advisor: lav1@nyu.edu.
A portfolio is a demonstration of what you as an artist thinks is valuable and important. It can take the form of a website, DVD or CD display, a bound book of images in plastic sleeves, or an open archival box of art images held by viewers wearing white gloves. Through critiques and class discussions, students will create a finished portfolio of artworks in any medium, which will serve as the basis for an application to galleries, artist residencies, graduate school, grants and/or job or internship opportunities. We will look at the display of images, narrative sequence, graphic play, typography, motion, perfectness, randomness, awfulness. There will be a reading of three books that could constitute modernity in art. The readings will provide a clarity of intent to the student/artist who works in non-words, in the seeking of a more secure handle on what one does, and to push your art to unknown categories (as yet to be read). Taught by Gerald Pryor, associate professor and artist in residence, photo head, with extensive experience in art exhibiting / curating, and book design.

Interdisciplinary Projects: Sex & Contemporary Art II
Instructor: Kathe Burkhart
M 12:30-3:50 pm
E90.1022/2010 Section 002
Undergraduate art majors (others by permission of UG advisor) enroll in E90.1022. Graduate students enroll in E90.2010.
This interdisciplinary year long course combines studio practice and critique with slide lectures, readings, audiovisual material and visits to relevant exhibitions. The course presents an introduction to the relationship between sexual liberation movements and contemporary visual culture, with a particular focus on developments in the last 40 years, from Womanhouse to ‘post-feminism’; from bra-burning to backlash, from bad girls to victims, from gay pride to queer theory, and from theory to praxis. Special attention is given to the relationship between historical feminist work and its influence and derivation in contemporary art practice today. Previous visiting artists have included Breyer P-Orridge, Penny Arcade, Sheree Rose and Mimi Smith. Part 1 dealt with historical works, ideas and artists from the late 60's to the 80's, while Part 2 will deal with ones from the 90's until now. Queer, LGBT and pansexual artists are particularly addressed in Part 2.
Students will present their best work in an exhibition curated by the professor opening March 3 in the Rosenberg Gallery.

Introduction to Galleries & Museums of NYC
Instructor: Vida Schreibman
E90.1082.01 and cross listed with E90.2182.01
Fridays 12:30-3:00pm
This course will enable students to become more familiar with the vast number of visual art resources located in New york City. Through weekly site visits we will examine a variety of topical issues that relate to both the professional artist and art administrator. Informal meetings with key personnel will provide a behind the scenes perspective on internship and career opportunities within the gallery and museum setting.

Projects in Painting: Painting and Installation
Instructor: Jason Tomme
E90.1636
W 5:45-9:05 pm
Open to Art Majors only. Prerequisite: Painting II or equivalent.
Course will investigate the issues of producing and exhibiting artwork that consists of multiple mediums. Focus is on artwork that engages and manipulates both the space it is exhibited in, and the viewer who experiences it (aka the term "installation art"). Painting, sculpture, photo and video are equally regarded and encouraged as a means of exhibiting work. Course puts a strong emphasis on play, innovation, and production. Students will be required to create "exhibitions" of their work in multiple sites and exhibition environments. Students are encouraged to reconsider the notion of exclusively exhibiting work in a conventional gallery space.

Projects in Photography
Instructor: Hiroshi Sunairi
E90.1664/2664
W 5:45-9:05 pm
Prerequisite: two photo classes. Undergraduate art majors (others by permission of the UG Advisor) enroll in E90.1022. Graduate students enroll in E90.1022.
This course reconstructs the use of photography in art making through the issues presented. Topics such as "Photography as an Unexisted Memory - Oliver Boberg;" "Phantasm of Imagined Vision: Sophie Calle - Blind Series;" and "Form of Truth Searched and Revealed in Time - Tacita Dean," are some of the issues dealt in this class. We will analyze contemporary photography and the ideas, forms and ways photography is used today. This class welcomes students who are able to build their own projects based on their reactions to the issues presented. The extended media of photography is welcomed, such as video, installation, and sculpture.
The Issues presented:
1. Change of Paradigm: From the Object of Negatives to Digital Numbers
2. Ripped, Taken Away, and Compartmentalized Memory - Niki S. Lee, "Parts"
3. Phantasm of Imagined Vision - Sophie Calle, "Blind"
4. Time documented, contained, and visualized literally and metaphorically - Hiroshi Sugimoto, "Empty Theater"
5. Representation of a Piece of Photography as a Physical Object - Jean-Marc Bustamante
6. Form of Truth Searched and Revealed in Time - Tacita Dean
7. Photography as a Unexisted Memory - Oliver Boberg
8. Perfect Minimalism: Ultimate Documentation of Humanness, Cubic Forms in Photography after Gurshky
9. The Times They Are A-Changin' - Changing Landcape We Live In

Projects in Print: 3-D Printing
Instructor Mark Johnson
E90.1670/2672.01
T 2:00-5:20 pm
Open to all students. Prerequisite: one digital or print course and knowledge of Illustrator and/or Maya strongly recommended. This is a new and experimental course in 3-D printing, utilizing rapid prototyping and laser cut machines to explore new media ideas of r & d (research and development), collaboration and fabrication. Emphasis is on exploration of new media and its application to the creative process.

Projects in Sculpture: Moldmaking
Instructor Dave Hardy
E90.1647/2647.02
F 12:30-3:50 pm
Open to art majors only; others by permission of the undergraduate advisor.
Prerequisite: one sculpture class.
Used to build everything from highway overpasses to works of art, moldmaking combines methods of industrial production with those of traditional sculpture. This course will introduce the processes and applications of moldmaking in art and elsewhere, through demonstrations, hands-on projects, and readings. In an expansive view of what constitutes moldmaking, class projects will include traditional and less traditional techniques; projects will employ simple one piece molds, slip casting, multiple part rubber and/or rigid molds, alginate life casts, and other processes with a range of different casting materials. Course will emphasize the conceptual implications as well as the mechanics of fabrication.

Projects in Video Art
Instructor: Alex McQuilken
E90.1651
T 5:45-9:05 pm
Open to all students. Prerequisite: Video II.
Focus on further developing technical skills in production and post-production. Exploring lighting, chroma-keying, set building and special effects. Readings, screenings and assigned visits to galleries, museums, performances, etc.

Video Art II
Instructor Aida Ruilova
E90.1551
T/R 9:30 am – 12:15 pm
Open only to art majors or by permission of undergraduate adviser. Prerequisite: Fundamentals of Video Art or the equivalent.
This course will build on ideas and skills learned in Fundamentals of Video. An expansion of technical skills will be joined with advanced concepts in narrative and non-narrative video working towards several long-term projects. Opportunities for the more experimental applications of video (installation, performance, etc.) will be wed with increased technical mastery of technical and logistical concerns within the medium.