Registration Electives | MassArt Graduate Student Resources (2024)

GRAD-614 | ART & LANGUAGE

SHARON LOUDEN | M 2-5PM | Online The purpose of this course is for students to work with language as a basis for articulating their work. Language will be considered as something to use within works as well as written and spoken support for studio work. The primary goal will be for students to locate a means of using language that excites and inspires (rather than any sense of language as disconnected to work or an area of fear and restraint). Using the category of art and language this course will also provide a cross-sectional view of contemporary art discourse. The homework will be based on the Conceptual Art model of proposing a set of instructions (such as “paint every spoon blue”) and asking you to enact the instructions, without overthinking it. The resulting work should follow the instructions but understand that the instructions leave many parameters unanswered (whose spoons? what color blue? what kind of paint?, etc.). Your task is to fulfill the request, please don’t feel you need to be creative in the response. The point is there will be questions to be negotiated. And, please don’t contact me to clarify or ask if you’re doing it right. just do it as best you understand it. Each week will have assigned readings as well as an assignment to create visual work (video, 2-d, writing). All in the interest of clarifying your ability to present your work.

GRAD-611 | GRADUATE MAKER STUDIO

DENNIS SVORONOS | TH 9AM-1PM | F2F This course explores the concepts and techniques required to apply digital tools to the creation of physical artworks. Students learn the fundamentals of design for laser-cutting (wood, paper, and acrylic), plasma-cutting (steel), and 3D printing in a variety of materials. Students are trained in a range of processes using MassArt’s Universal Tools and various object-making facilities, and focus on digital design and its ability to augment and facilitate the physical process of making. Students gain practical skills to be applied across a range of media. Class discussions and critiques focus on technique, ideas and the relationship of course projects to students’ broader body of work. Artists, designers, tinkerers, and makers of all skill levels are welcome; no specific previous experience required.

GRAD-504 | CURATORIAL PRACTICE

SAM TOABE | TH 6-9PM | ONLINE WITH LIMITED F2F MEETINGS OR REMOTE OPTIONThis course examines curatorial practice as an artistic, social, and critical pursuit. Students consider the expanding role of the curator as well as the expanding definition of the exhibition in the context of today’s broader cultural, social, and political conversations. The class engages in critical dialogue about the history, process and working methods of contemporary exhibition making, fueled by diverse and rigorous reading, practical discussion, constructive critique of current exhibitions, and guest speakers from a variety of arts institutions. Students gain hands-on experience in all aspects of the art presentation process, collectively planning and executing a public exhibition at the MassArt x SoWa gallery, from the initial conceptual framework to the installation and promotion/marketing. *This course is delivered primarily online; however, students must commit to limited pre-scheduled in-person meetings at the MassArt x SoWa gallery, scheduled in advance by the faculty. Fully remote option for MFA Low Res students who live very far from Boston.

GRAD-649 | TIME-BASED DIGITAL MEDIA

REBECCA MORRISON | TH 6-9:30PM | IN-PERSON WITH REMOTE OPTIONThis graduate-level course is designed to offer students from all art and design disciplines a technical and conceptual foundation for using digital video, sound, and animation techniques in their own practice. Intensive technical skill-building in video and sound production and post-production is combined with screening and discussion of historical and contemporary video works, experimental animation, and sound art. In the first half of the course, a series of flexible exercises provides a technical foundation. At mid-semester, students propose a longer-term project that relates to their own area of interest, which may range from straightforward video works to multichannel mapped projections and/or spatialized sound. Class time involves lectures, screenings, technical demos, 1:1 work/lab sessions, individualized feedback, and group critiques, allowing each student to pursue a personalized path while gaining a deep understanding of time-based digital media art in the twenty-first century.

2DPM-506 | GRADUATE PRINT PORTFOLIO

CATARINA COELHO | F 8AM-1PM | F2F This advanced course in printmaking enables students to invent and explore a theme through the creation of multiple images linked by a conceptual thread. Experimentation in the practices of intaglio, screen printing, plate lithography, relief print through a combination of traditional and digital print processes guide students through an expanding range of visual possibilities. Students propose, plan, and execute a series of prints which may be formatted into either a custom-made portfolio or a bound book. Debate of contemporary practices and discussion of the particular characteristics of print media, separately or in combination, is of paramount importance in this course. Experience with printmaking is helpful but not required.

CDGD 364-01 | LANGUAGE OF MOTION

JAMIE READ | M 2-6PM |REMOTE In Language of Motion students explore visual narratives in reference to time-based media. The course emphasizes conceptual, visual and technical aspects of typography in motion. [Formerly Dynamic Typography].

MDES-602 | STORYTELLING + UX DESIGN

JAMIE READ | M 2-5PM | F2F This course enables students to express complex ideas and information through many narrative development techniques and communication methods, and to develop skills in user experience design. Students develop skill sets around the user experience as well as communication through visual stories. These visual stories take on many different forms including short videos, storyboarding, improvisation and presentations of user experiences. The essential communication skills as well as user experience design principles obtained from this class form the basis of the course and of subsequent design studios.

DSGN-631 | ELEMENTS OF MEDIA

FRED WOLFLINK | TH 6-9PM | F2F This course is focused on developing a better understanding of the complexities of the re-synthesis of visual, oral, aural, and temporal information as they exist in time-based and interactive media. Through lecture and in-class demonstration students will learn the technological processes necessary to begin temporal explorations in sound and image.

MDES-607 | PROTOTYPING LAB: LEARNING BY MAKING

GEORGE WHITE | TH 5:30-8:30PM | F2F This course provides a basis for understanding the processes, practices and application of prototyping. The goal of the course is to give students an understanding of the uses of prototypes and hands-on experience through the creation of both physical and digital prototypes. Topics covered in the course are the use of prototypes for exploration, learning, explanation, clarification, and refinement within the context of a problem space; understanding and selecting prototype fidelity; working across different scales; testing and refining with prototypes; prototypes as a component of storytelling; and evaluating the move from prototype to production. This lab focuses on learning by making, with an emphasis on hands-on work, mixed with enough theory to connect prototypes to essential working goals. The lab also explores the notion of identifying, adopting, and working with constraints. *Prerequisites: none.

DSGN-568 | DISOBEDIENT DESIGN

MARTHA RETTIG| W 3:00–7:00PM| F2F Start a revolution. Make your own protest poster. Break the internet with digital resistance. Inspired by the protests that started in November 2016, this course looks at the power of public activism as it has evolved from the letterpressed broadside to today’s acts of technological interventions. Students examine criteria for successful acts of resistance through a variety of project deliverables, ranging from letterpress posters, websites, digital installations, augmented reality experiences, and more.Prerequisites: none.

Do an Advanced Search in MassArt’s Self-Service portal to view a full list of elective options, and view detailed registration procedures here.

MPSM-537 | ELECTRONIC PROJECTS FOR ARTISTS

DANA MOSER | M 1:30-6:20p (register in self-service as of 3/18) The purpose of this studio course is to provide skills and information that will be useful for artists who use electrical devices in their artworks. Examples will be shown to help students in incorporating/integrating electrical circuits and sensors in a variety of media including sculpture, installation and performance. This intro course covers how to work safely with electrical current. We show how to use components like breadboards, resistors, capacitors and transistors, Integrated Circuits, read schematics and build electrical circuits. The ultimate goal is for artists to incorporate this knowledge in the production of projects of their own design.

EDFD-312 | CREATIVE BUSINESS INCUBATOR

SARA HARTMANN | M 6:30-9:30p The purpose of this course is to support and facilitate the development and active launch of student owned businesses. Foundational principles of entrepreneurship, strategy, marketing, and finance are learned through practice and hands on experience. Professional network building is emphasized with mentors, guest lecturers and visiting entrepreneurs sharing their expertise.

2DPA-216 | DRAWING THROUGH A DIGITAL LENS

ANDREW FISH | T 8a-1p Drawing Through a Digital Lens: Image Creation in the Information Age explores drawing with the use of digital tools in the creative process. We will experiment with digital tools already at our disposal (computers, social media, smartphones, cameras, printers, etc.) to work between concept and process while developing new work. We will draw directly on tablets and phones and use apps and software to manipulate, enhance, and troubleshoot aesthetic and conceptual concerns. We will toggle between virtual and tactile mediums and examine the use and look of digital tools in contemporary painting.

2DPA-228 | COLOR FOR PAINTING

KAYLA MOHAMMADI | T 8a-1p Studies in water-based media of color harmonies and hue relationships, along with neutral or achromatic colors to develop an understanding of the subjective process of color perception and color relationships through practice with color theory and color mixing methods.

2DPA-264 | COLLAGE/ASSEMBLAGE

JAMES STANLEY | M 8a-1p Drawing, painting, and sculpting using found objects, appropriated images, letterforms, texts, and personal memorabilia. Slide lectures and class discussions concern the history of collage and assemblage.

MPFV-402 | CONTEMPORARY ISSUES IN FILM/VIDEO

TAMMY DUDMAN |W 4-8pThis survey class views film and video by contemporary artists and media makers together with occasional older works. Emergent and established artists will visit to present and discuss their work at MassArt Cine-Culture (formerly MassArt Film Society). Among the issues to be discussed related to contemporary moving image discourse and production are: narrative/form, fiction/non-fiction, independent production and exhibition, and the social/political relevance of film as an art. This is the second installment of a year-long course that is a Senior requirement for all Film/Video Majors.

This is a selection of electives open to all grads with requisite skills. Additional departmental electives are available to grads in specific programs; consult with your program director or the graduate team for options.

Please Note: This list is not comprehensive. Information on this page will be updated periodically during the registration period, but should not be the last place you check for available elective options.

Do an Advanced Search in MassArt’s Self-Service portal to view a full list of elective options, and view detailed registration procedures here.

• TBA Permission may be requested once instructor has been announced
• GA indicates that a Graduate Syllabus Addendum is on file for this faculty and course.
• OL indicates an online course.
• H indicates a hybrid course (some course meetings online, some in person).
• Red Asterisk (*) indicates course is full or waitlisted

PROGRAM-SPECIFIC ELECTIVE NOTES

ART EDUCATION students take a studio elective, if required in their specific program, not a non-studio / academic elective.

MASTER OF ARCHITECTURE students take a wide range of electives, with at least 1 elective focused on making, during their program.

MDES students are generally encouraged to take a studio elective focused on making, rather than a non-studio elective.

MFA DMIstudents start by enrolling in the DMI elective(s), and they may add additional electives.

MFA DMI2-year trackstudents entering the DMI program in fall 23 and fall 24 take 3 credits of electives in the first fall and spring semesters, as part of a pilot program with 6-credit Design Seminar I and II courses.

MFA DMI3-year track students generally do not take electives the first year.
Students who entered the DMI program prior to fall 2023 should be aware that there are 24 credits of electives in their program. 18 credits are taken in the 2nd year, and 6 credits may be taken in any of the terms including summer.

MFA FINE ARTS students enroll in 1 studio and 1 non-studio elective in their first fall semester.

MFA PHOTOGRAPHY students will be enrolled in GRAD-512 Grad Tech Seminar, as their studio elective in their first fall semester.

MFA LOW RESIDENCY students may select from studio and non-studio in-person or remote electives during the fall and spring semesters. In addition to remote/online elective courses, MFA-LR students who are able to attend classes on campus may enroll for any open elective offered during the fall and spring semesters, dependent upon their program progress / status.