Course Descriptions

Interdisciplinary Sculpture

IS 200 Introduction to Sculpture

Introduces the 3D format and exposes students to an overview of processes, tools, and materials used in sculpture. Students explore the relationship of ideas to materials and construction techniques.

Prerequisite: FF 130 A/B

IS 202 Introduction to Wood

Presents an opportunity to manipulate wood as a sculptural material. Slides, photographs, and books of contemporary wood sculpture are presented and discussed. Exercises in scale drawings and models help to understand and realize projects. Quick fastening and building construction techniques are covered as well as experiments with shaping, laminating, and finishing wood. The goal is to further individual creativity.

Prerequisite: FF 130 A/B

IS 205 Sculpture Workshop: Moldmaking

Teaches the skills of mold making as a simple means of reproducing original work accurately, efficiently, and in any quantity using plaster piece molds and flexible rubber molds. Consists of demonstrations followed by individual instruction for each student. Students learn how to dye and cast plastic, cast both solid and hollow forms in plaster and wax, and how to prepare a pattern for metal casting in aluminum or bronze. All necessary materials can be purchased through the MICA store or will be available in the sculpture department. Prerequisite: FF 101 (Sculptural Forms)

Prerequisite: FF 101

IS 206 Material Transmutation

Uses evolution as a metaphor for a particular process of working through materials. “A periodic table” of elemental techniques particular to each material is discovered/uncovered. Then these techniques are used “molecularly,” in combination to make forms that as the weeks go on become more and more complex. The work is evolved over many generations through the selection and reproduction of “accidents.” Craft, for the purposes of this class, is defined by the ability to reproduce accidents. As the work evolves and fluency is established with the material, intention and accident become confused and it is more difficult to distinguish at any given moment between which aspects of the work are the result of the artist’s hand and which are the way they are due to the qualities/limitations of the ever-changing material.

Prerequisite: Earned credit or concurrent enrollment in FF 130

IS 207 Projecting Space

This workshop will focus on exploring the projected image and its relationship to the construction of expressive space. Students will create spatial artworks and architectural interventions using the projected and moving image.

Prerequisite: Introductory 3D course (CE 200/201 or FB 200 or IS 200 or IS 202)

IS 208 Prof Prac:Phtographing Artwork

Do you want to learn to shoot better slides of your artwork? This class covers advanced camera use, films and filters, metering, controlling and modifying lights, and professional portfolio presentation. The emphasis is on a hands-on approach through demonstrations and assignments where students use their own cameras to shoot slides of their work. Students meet individually with the instructor to evaluate their work and solve specific problems. May not be repeated for credit. Two 1.5 credit workshops in the 3D area will combine to fulfill a 3-credit studio elective.

Prerequisite: FF 101

IS 209 Prof Pract: Grant Writing Wkp

This class guides students through the application process for grants available to graduating seniors. Students decode the specific application guidelines and forms, set up a work schedule for completing applications, select and label slides, write a grant narrative, write a résumé with an exhibition history, and assemble the final grant package. Emphasizes a concrete, “how-to” approach; however, wider issues and techniques in grant writing are also discussed. May not be repeated for credit. Two 1.5 credit workshops in the 3D area will combine to fulfill a 3-credit studio elective.

Prerequisite: FF 101

IS 210 Prof. Pract: Self-Publishing

Students use InDesign software to create brochures of their work, exhibition announcements and business cards. Discussion includes photo retouching, color management, artist statements, interviews or essays of student’s work, colophon acknowledgments and printing resources. The files can be applied to printed matter or the web. The course emphasizes a “DIY” approach.

IS 220 Design Method Studio

"Integrative Design Methodology" is a team taught course with one half of the semester devoted to pre-visualization techniques using a combination of industry standard 3D software packages. Students will utilize the potential of this software to work through problems virtually and to conceive of and produce 3D models for full-scale sculptural projects. The other half of the semester will be devoted the iterative process and its resulting generation of unpredictable material (and conceptual) circumstances. By interrogating both of these distinct and seemingly opposing methodologies students will discover the ways in which these varying approaches are both necessary components to contemporary interdisciplinary practice.

Prerequisite: FF 101 & FF 210

IS 225 Wood Carving as Social Pract.

The course will be taught by visiting artist , Senior Lecturer and former Head of the Sculpture Department in the School of Industrial and Fine Arts (CEDAT), Makerere University, Kampala, Uganda. Professor Dr. Lilian Nabulime holds a Fine Art PhD (Newcastle University 2007). Her research is on the role of sculptural forms as a communication tool in relation to the lives and experiences of women with HIV/AIDS in Uganda. She uses everyday objects (for example, soap, sieves, cloth, mirror, metal cans, car metal parts, found objects ....) to embody a specific social agenda that attempts to raise awareness and promote discussion as well as moving the meaning of art beyond the visual. OPEN TO ALL MAJORS.

IS 234 Small Sculpture: Details Metal

In this course, students learn the fundamentals of small-scale metal fabrication and design, with an emphasis on development of ideas, experimentation and production, including attention to detail and a foundation in tools and machinery. Fabrication, sawing, soldering, finishing, patinas and other metal working skills will be covered. This course will also explore other relevant materials that apply to metals techniques, such as plastics, wood, glass and more, with an exposure to the contemporary metal movement and field trips to artist studios and galleries. Prerequisite: FF 101 or equivalent.

IS 240 Social Practice Studio

What is now called "social practice" in contemporary art has a long history rooted in the late 1960s, when artists like Allan Kaprow created participatory events called Happenings and Joseph Beuys coined the term "social sculpture." Both were inspired by the utopian desire to blur the boundaries between art and everyday life, as well as the democratic belief that everyone is an artist. As Beuys said, "every sphere of human activity, even peeling a potato, can be a work of art as long as it is a conscious act." These ideas have been elaborated by generations of artists associated with Fluxus, conceptual art, performance, site-specificity, and institutional critique. Since the 1970s, the legacy of social practice has been significantly shaped by the feminist politics of many women artists including Suzanne Lacy, Mierle Laderman Ukeles, and Martha Rosler. Reaching beyond the traditional studio production of objects, these artists aspire to transform social relationships, constructing aesthetic experiences and situations that use food, self-organized education, alternative economies, walking, conversation, and other forms of social cooperation as the material of art. This class will introduce students to the theory and practice of socially engaged art through a participatory process of research and co-learning. Working individually or in small groups, students will produce a series of projects that are informed by weekly readings, screenings, discussions, and field trips.

Prerequisite: FF 101

IS 260 Spatial Relations

A sculptural exploration of space, environment, and atmosphere. The sculptor works with space similar to how a pilot navigates a plane, a wanderer takes a journey, or a chess player makes moves on a game board. The course explores how objects are located in space, how systems play into sculptural practice, how artists “map” space environmentally, and how the atmosphere surrounding objects can be visually charged. Students are encouraged to work across disciplines to develop their concepts by experimenting with materials, including light and sound and interaction in space. Through a series of studio assignments and readings, students develop skills to represent and manifest spatial concepts, perceptions, and experiences. The critical element in making a three-dimensional work of art or performance is how the artist defines, uses, occupies, and interprets space. Students create works that explore the aesthetic, corporeal, and philosophical issues of space. Open to all interdisciplinary sculpture students.

Prerequisite: FF 101

IS 266 Introduction to Newer Genres

Offers a studio-laboratory environment for transdisciplinary, cross-media experimentations in time-based, performance, relational, video/electronic arts, installation, light/space, and locational/spatial practices. Students are encouraged to develop new methods and sites to realize their ideas and concepts through material, process, form, and technology. Through rigorous critiques, students investigate their artistic intentions and how these are executed through the work to create meaning. The objective of this course is to guide students toward a thorough understanding and articulation of their work within larger cultural, theoretical, and historical contexts. Importance is also placed on developing skills to documenting these genres through photographs, video, and other techniques.

Prerequisite: FF 130A/B and FF 140A/B

IS 271 Figurative Reflections

This course provides a unique opportunity to combine life drawing and sculpture together. Focus revolves around in-depth study of the human figure, emphasizing anatomy structure, proportions, mass, and quick studies. Both disciplines enrich eye-hand coordination. At the end of each sculpture exercise students are encouraged to photograph their work. Sculpture credit only (not Drawing).

Prerequisite: FF 101

IS 272 Intro to Figure Sculpture

An introduction to the fundamentals of making both figures and portrait heads from models. Small quick clay sketches, bas-relief, and plaster waste mold techniques are covered. At the end of each exercise students are encouraged to photograph their work.

Prerequisite: Earned credit or concurrent enrollment in FF 130

IS 275 Metal Casting/Foundry Process

In this metal casting course we will concentrate on the casting of Aluminum, Bronze, and possibly Iron. We will utilize several different types of processes: rubber molds, ceramic shell molds, resin bonded sand molds, and green sand molds. We will discuss the benefits of each and when it is appropriate to use a particular method over another. Pattern making in wax, wood, and rapid prototypes will be discussed, demonstrated, and used. The history of metal casting as it applies to art and industry will also be discussed, along with various chasing (finishing) techniques and patinas. Material expenses are to be paid by the student and can range anywhere from $150 to several hundred dollars, depending on the nature and scale of the student’s work.

Prerequisite: IS 200, or Post-Baccalaureate or Graduate student standing

IS 285 Metal Fabrication

The emphasis of this course is to introduce students to various metal working processes and materials. In this course students will develop their technique by exploring steel fabrication, welding, and various other hot and cold metal working skills. It is expected that through mastery and the application of these processes as a means to an end, students will combine formal and conceptual subject matter to articulate their own artistic direction. For students enrolled in a second or thrid instance, it is an expansion upon the knowledge and techniques learned during their first completion of the course. Students become an integral part of the studio and are expected to work toward developing a more cohesive body of work through more specific investigation and research.

Prerequisite: IS 200

IS 286 Intro to Biofabrication

In the thousands of years since humans left the stone age, we have developed an astounding collection of skills and technologies for fabrication. Nature, however, has employed billions of years of R&D to develop far more sophisticated means of making things. Biofabrication is the combination of these technologies. In this course, we will learn about natural growth systems and explore ways of making, not just from, but with nature. Through visiting scientists, visiting artists, readings, and hands-on experimentation, students will gain a scientific understanding of fundamental principles of biological materials. We will use a variety of organisms, such as bacteria and fungi. We will combine these with different biotechnologies, like genetic modification, and fabrication processes. This will allow us to create objects in a range of materials such as bio cement, microbial cellulose nanofibers, fluorescent proteins, or mycelium-based composites. These complex technological practices will be driven by artistic sensibilities and put into action through material exploration and studio projects.

Prerequisite: FF 111/112

IS 287 Sustainable & Recyclable Mtrls

The act of consuming is fundamental to living in a culture that thrives on capitalist ideals. In our society, consumer culture has had a negative effect on the natural environment and human well being due to irresponsible design. Eco-logical design can play a part in restoring our interconnectedness with the natural world. The Recyclable and Sustainable Materials workshop will explore materials and methods that promote sustainable and eco-logical solutions in art, design, architecture and fashion. We will examine designers and artists who play an integral role in promoting environmentally conscious products and concepts.

Prerequisite: FF 101

IS 290 New Language

Nonsense has been used as a critical device throughout the history of modernism. Much of this critique was directed towards the following interrelated and overarching assumptions of the modernist project: (1) It is possible to completely and fully describe the world, and (2) in order to do that we must be able to see from more than one place or perspective at a time. Students work through these assumptions in their assignments. They attempt to make visible that doubling that is always already there, presupposed by our Cartesian language. To do this, they enter into their own specific nonsense. They have to “observe in order to see what they would see if they did not observe” (Wittgenstein). By looking at and making work that accounts for what frames the way they see, students begin to discover their own voice.

Prerequisite: FF 101 & FF 210

IS 308 Installations

Focuses on the multiple histories involved in site-specific works that include architecture, media, and landscape, among others. Consideration is given to aesthetic, political, and poetic concerns that are part of the creation of “place”. Students are encouraged to explore beyond traditional art exhibition sites in order to understand how the content of work cannot be separated from its context. Model making and drawing are used as tools in the development of ideas and processes before full-scale work is created. Students need to be highly motivated and use their initiative in order to work in this context where focus is on creating a spatial experience rather than an individual object.

Prerequisite: Earned credit or concurrent enrollment in FF 130

IS 314 Art and Algorithms

This 6-credit integrated course (3 credits Interdisciplinary Sculpture/3 credits Natural Science) explores the impact of algorithmic processes on art practices and society from WWII to tomorrow. Looking through the lens of systems and a systems aesthetic, students investigate cybernetic, kinetic, electronic, digital, net-art, biological, and AI-based art practices. Students explore the ways in which the world is converted into data and how that data is then made actionable in the world. Students examine the ethical implications of algorithms in society, with consideration of the explicit and implicit intentions of the authors of these performative codes as well as the inextricable role the observer/participant plays. Students create work that is data-driven and research-based, integrating art historical, sociopolitical, and critical theory perspectives with concepts from the fields of mathematics, computer science, biology, and engineering.

Prerequisite: HMST 101 Concurrent enrollment in NSCI 314 required, totaling 6 credits

IS 316 Baltimore Urban Farming

This class will focus on the artistic, social, political and ecological issues of growing food in the city. We will start in mid winter by preparing seeds indoors and conducting a seminar on historical and present day issues of food production. We will look at how this activity has been approached by artists historically and look at the vast amount of new work in this area. This will be a project-based class and students will be asked to respond to this information with either a single or series of projects. We will partner with 6-8 urban farms where students will have an opportunity to learn practical gardening skills and each farms unique strengths and challenges.

IS 319 Public Art & Art Intervention

Creative disruption of everyday life is inherent in the exploration of public art and art intervention. The creative process is affected by working outside of the privacy of one’s studio in a social sphere. These issues raise inherent questions: How does the artwork address situations and issues of concern to those who experience it? Does the work encourage wide-ranging conversations and collaborations while taking risks? Is critical reflection a priority? Students have the opportunity to consider this as they develop a series of unrelated works or a body of related ones. Individual interests determine the direction and content of the work. Slide lectures, readings, and class discussions complement individual investigations. Prerequisite: FF101 (Sculptural Forms) + 3 Credits of 200 Level 3D Coursework

Prerequisite: FF101+ 3 Credits of 200 Level 3D Coursework

IS 320 Intro to Digital Fabrication

Digital fabrication is literally reshaping the world around us. Digital modes of designing, thinking, and making are embodied the buildings we inhabit, the clothes we wear, the artworks we experience, and even the food we eat. The integration of design software, precision robotics, and innovative systems of making opens up exciting new possibilities for artists and designers. It also introduces fundamental shifts in our ways of making, our economy, and our society. It demands our consideration as citizens and our thoughtful use as makers. In this course students will develop proficiency in computer aided design (CAD) working in Rhino, and learn to safely and effectively use laser cutters, 3D printers, and the CNC router. Through research, discussion, and practice students will learn to think about and through these tools to develop a personal relationship with these technologies in order to integrate them into their practice.

Prerequisite: FF 130A/B and FF 140A/B

IS 322 Collaborative Partnership

Collaboration is a process of mutual transformation in which the collaborators, and thus the common work, are in some way changed. Most important, the creative process itself is transformed in a collaborative relationship. The focus of this course is to explore collaborative partnerships. How, why, with whom, and to what end does an artist become involved in this practice? Students are encouraged to consult, involve, or engage individuals or groups as a part of their creative work. In addition, studio work is augmented with readings, classroom discussions, and lectures focus on how one gathers professional and technical support, the many venues of public art, and the potential for community involvement. May not be repeated for credit.

IS 324 Masks and Headdresses

Masks and headdresses have the power to transform one’s character. They make a statement about the nature of change. In this course, students explore the human body as a site and springboard for questioning art, gender, or politics. These issues are addressed while exploring a variety of materials and techniques. Armature and construction methods are introduced through video demonstrations and hands-on experimentation. Slide lectures provide historical, contemporary, and cultural background information. Students are graded on their individual progress and in comparison with other students, as well as on their participation in weekly class discussions and critiques. Attendance counts. Supply costs vary depending upon the scope and scale of individual creations. Prerequisite: 3 credits of 200-level 3D coursework. May not be repeated for credit.

Prerequisite: 3 earned credits of 200-level 3D coursework

IS 326 Conversations as Muse

A guiding spirit or a source of inspiration, often in the form of dialogue, engages one to muse and become absorbed in self- and other-referential thought. In this studio class students work, converse, and imagine with targeted audiences from areas outside the immediate MICA community in a concerted effort to take an active, collaborative, and reciprocal role in community engagement. Students develop ideas for their proposed projects after extensively researching possibilities and conducting self-directed outreach with a given group. Recent projects have worked with the Men’s Center in East Baltimore, the Water Treatment Plant in Baltimore, and Baltimore Act Up. Students are encouraged to work collaboratively with the understanding that their artwork will become a critical voice in the engagement with and empowerment of the public sphere. Projects may take the form of site-specific work in or around the City of Baltimore, community collaborations, performances, tours, or other types of interventions.

Prerequisite: 3.0 credits of 200-level IS course, or Graduate student standing

IS 331 Puppets and Prosthetics

In an attempt to explore notions of reality, metaphor, and myth, students create works that subvert, enhance, extend, or replace our notions of the human form. Students examine a broad range of work, from the gigantic puppets of Royal de Luxe to the work of Matthew Barney, starting with the clown nose—a simple gesture with wide-ranging cultural implications of identity. In addition to studio work, this class employs readings, films, and slides to explore the use of performative objects and prosthetics devices in contemporary culture. May not be repeated for credit.

Prerequisite: 3 earned credits of 200-level 3D coursework

IS 333 Warped Wood

Students make sculptures that have been conceived to demonstrate permanent bends and controlled warps through the use of stacked lamination, heat, and steam techniques. They experiment with pressing methods and determine and document the compressibility ratios and stress range of several species of lumber. Students build some equipment needed for the bending process. Prerequisite: IS202. Lab fee: $75. May not be repeated for credit.

Prerequisite: IS 202

IS 334 Advanced Wood: Primal Instinct

This course features 17th-century woodworking techniques to build sculpture of green wood. Green wood is lumber taken directly from a freshly cut log and is softer and much more pliable than commercially available dried wood. The goal of the course is to expand the possibilities of sculpture making by the direct manipulation of raw material. This study focuses on the primal reality of this raw material and the use of hand tools as a fundamental expressive force for realizing sculptural idea. Basic skills and an understanding of traditional woodworking concepts are developed by first learning to split, shape, and join green wood. This process allows students to work much more quickly and spontaneously than possible with dried lumber. Students make some tools and equipment necessary for the process of green woodworking. Prerequisite: IS 202. Lab fee: $50. May not be repeated for credit.

Prerequisite: IS 202

IS 335 Robotic Arts: Motion & Motors

This class will focus on digital kinetics and smart motor control for robotic art. Using the arduino microcontroller, students will learn how to use servo motors, stepper motors, reversible dc motors, solenoids, and ac motors. In addition to motor control, programming the arduino and the use of sensors will be covered. Students will produce a final project. Studio work will be supplemented by lecture/presentations, video, critiques, and readings.

Prerequisite: IA 277, Permission of Department Chair, or Graduate Standing

IS 345 Sound Installation Art

Sound Installation Art is a studio introduction to the sonic possibilities of a three dimensional space while also considering sound as an independent sculptural medium. The course will address the use of sound in a variety of media including photography, drawing, video, performance and sculptural materials. Concepts of interactivity, site specific sound art, net-worked sound installation and kinetic sound sculpture will also be covered. Prerequisite: IDA 202 (Into to Sound) or IDA 230 (Sound Art) or Permission of Instructor.

Prerequisite: IA 202 or IA 230

IS 346 Grow the Future

“The best way to predict the future is to invent it.” Nearly a half-century since this motto inspired inventors of the personal computer, perhaps the best way to predict the future now is to grow it. Advances in biotechnology are outpacing digital technology as new knowledge and tools open astonishing possibilities. Artists have a vital role to play here; to grow a better future we must first understand emerging technologies and their contexts, imagine possibilities, speculate on their unfolding, and then test our ideas. Through interdisciplinary collaboration, this course combines biotech research, speculative thinking, and creative application to explore how to possibly grow the future. This course participates in the Biodesign Challenge, a competition of top art, design, and research institutions from around the world. The BDC inspires students to imagine innovative applications of emerging biotechnologies. Through informed and creative thinking, small groups of students in this class will research, design, and prototype such a project. The strongest project in the class will represent MICA at the BioDesign Summit this summer at the MoMA in NY.

Prerequisite: IS 286

IS 349 Repetition/The Copy/The Clone

The culture of the copy has existed since antiquity. A fascination with the reproduction of a likeness has spurred numerous inventions from casting methods, to the camera and printing press, to 3D scanning and 3D printing to name a few. In this course, students will examine a myriad of social implications of reproduction and replication including, originality, mass culture consumerism and the authority of the object. Students will be introduced to a variety of processes of mimetic reproduction including traditional mold making techniques, digital printing and 3D scanning.

Prerequisite: IS 200

IS 353

In a digital era where we are always connected yet always still processing, how do we learn who we are without becoming compressed into an file? As artists, how do we continue to test the diminishing boundaries between our bodies and a world in which virtuality is ubiquitous and surreality is increasingly normalized? In navigating our 21st century digital landscape, what part do we as artists play in reshaping the reality of our world today? This course will examine the construction of gender, race, and reality in hopes to find balance between embracing heritage and resisting the restrictive flattening often accompanying identity politics. Students spend the semester demystifying the colonial gaze through examining its counteragents (science fiction, queer theory, and antiracism) and creating work that embraces our ever presence in our virtual world. Together, they will unearth, breakdown, and challenge real and imagined systems of power through fearless material inquiries, analytical digesting of films and literature, and generously rigorous peer critiques. Working the time-based mediums such as sound, video, performance, and the internet, students author their own narratives to cultivate the agency to rewrite the code that has brought them to where they are today.

Prerequisite: IS 200, or IS 206

IS 355 Water Works

Water is everywhere before it is somewhere. This studio will address water; the physical substance, the subject of local and global politics and the substance celebrated and ritualized in everyday practice across many cultures. Water’s connections to East Baltimore will be the aesthetic, social and environmental subject of our inquiry. A portion of this course will be situated in East Baltimore, utilizing the resources at MICAPLACE. The course begins with team workshops and individual research. Final projects may be sculptural, design-based or social driven objects, spaces or events. Students in ENV # and IS 310 will research issues and actors, map their findings, geography and ideas; and envision individual or group projects that address water in community, ecology and culture. Collaborations are encouraged.

Prerequisite: FF 101 and either CE 200/201, FB 200, IS 200, IS 282, or IS 202

IS 360 The Object of Networks

From everyday exchanges on Facebook to ambiguous fears of Al-Qaeda, we live in an era shaped by networks. This course addresses the “object of networks” in two separate, but related, senses. We consider the purpose of networks and examine how they function. We explore the social, political, and technological implications of different network structures. In the second sense of the title, this course examines the object as it exists and functions within networks. We explore how objects in networks create us as subjects and shape our world. This class is academically rigorous, but as a studio course, we also apply and advance these ideas through making objects. To challenge this notion of the object, nontraditional media and artistic approaches are explored and supported. Prerequisite: FF 101 (Sculptural Forms)

Prerequisite: FF 101

IS 365 Exploited Trad/ Expanded Pract

Using wood as a primary medium this course features skill building and material knowledge. Sculptural idea and conceptual rigor will be generated and informed largely through direct involvement with objects, materials and ways of making. Through an emphasis on the ways in which material relationships and fabrication methods can inform the content of the work. Though grounded in traditional craft, more varied and experimental or irrational relationships will be sought to determine unexpected narratives. Students will be encouraged to find or invent new ways of working or fastening materials and objects. Students will be challenged to discover appropriate means for making any particular expressive arrangement. The safe and proper use of wood shop tools will be a primary feature of this class. Students will increase creative freedom by an expanded knowledge of materials and greater proficiency in the use of hand tools and some power tools; (e.g.. Routers, jig saws, circular saws and some stationary tools.)" Prerequisite: IS 202.

Prerequisite: IS 202

IS 367 Furniture Design

An advanced study of wood working and furniture design with a focus on design aesthetics and craft, students will further develop their woodworking skills creating functional and non-functional art. Structure, surface and form will be emphasized, looking at traditional, contemporary and experimental techniques as well as resultant hybrids. Slide discussions, readings and research augment students’ studio practice as they build a small body of work through predominantly self-directed projects. New techniques in woodworking and finishing will be introduced weekly.

Prerequisite: IS 202

IS 368 Time Based Art

Art takes time to be made, and may, as well, rely on timing to be exhibited. Often the most enigmatic artworks become imbued with meaning over long periods of time—hopefully not to be forgotten. A work may cause one to relive a past event or to experience a premonition of the future. A work may make one aware of time passing at a particular speed, or feel that time has been standing still for centuries. This course will vary in its emphasis each semester, focusing on sound, performance, or process. Prerequisite: 3 credits of 200-level 3D coursework. May be repeated for credit with approval from chair.

Prerequisite: 3 earned credits of 200-level 3D coursework

IS 368A Time Based Art: Kinetics

Focuses on sculpture that moves mechanically. Students build objects that move themselves or move by human power. Existing machines will be salvaged, recombined, and re-contextualized. Electric motors and control circuitry will be used. Classical movements such as gears, pulleys, cams, ramps, spiral drives, etc., will be discussed. Performance, installation and interactivity are options for the presentation of moving artworks. Visual impact, physical movement, ergonomics, sound, and safety are criteria for student projects. Prerequisite: 200-level 3D course

Prerequisite: 3 earned credits of 200-level 3D coursework

IS 370 Publishing as Form

From Guttenberg's invention of movable type in the 15th century to the American government’s development of the Internet in the 20th century, publishing- or making ideas public and disseminated across cultures- has played a leading role in the progression of civilization. We will look critically and formally at publishing as a medium for the production of art. From books and blogs to posters and flyers to performances and exhibitions, we will examine significant works from the Age of Enlightenment to the media we consumed right before we entered the classroom. We will visit art book fairs, publishers, print shops, industrial printing presses, libraries, performance and exhibition spaces. We will make our own publications; InDesign will be taught; basic bookbinding will be demonstrated; we will make gifs, videos, and texts and put them online; and we will publicly perform something. The course will culminate with the production of a collective project that exists in print, online, and in real life.

Prerequisite: FF 210

IS 372 Inter/Adv Figure Sculpture

This course is a direct continuation in the development of figurative modeling using all applied principles from both Intro. to Figure and Figurative Reflections classes. Advanced students will be encouraged and instructed to model a life-size figure over the entire semester. Options for intermediate students will focus on two, three and four week lessons of portrait and half life-size figure studies. Prerequisite: grade of B or better in IS 272.

Prerequisite: IS 272

IS 374 Expanded Format Sculpture

Allows students to develop work that engages in the temporal, spatial, and contextual parameters of sculpture. Expanding on traditional sculptural practices and embracing new techniques and media, this class builds upon traditional foundations to evolve each student’s independent work into contemporary site specific and site responsive work.

Prerequisite: FF101 and 3 credits of 200-level 3D coursework or Post-Baccalaureate student standing

IS 378 Performance/ Action/ Event

This course locates itself at the intersection of performance and the visual arts, where the boundary between gesture, action, and object is often indistinguishable. Performance emphasizes the body as material and medium, extending the formal boundaries of visual art into time, space, and movement. Performance also relies on the performer/audience relationship. Through a combination of survey, workshops, and projects, students follow the trail of performance art in an effort to develop a visual vocabulary that engages both artist and spectator in the active creation of a work of art. Prerequisite: 3 credits of 200-level 3D coursework. May not be repeated for credit.

Prerequisite: 3 earned credits of 200-level 3D coursework

IS 380 Bastardize Machines: A Romance

In this course we develop strategies of relation, liberation, and creation suited for life on a planet circumscribed by and interwoven with computing machines. We will bastardize machines and create machines that bastardize. We will rejoice in the dubious offspring of the digital and physical. We will hack machines, learn to whisper commands, roam as nomads across all borders, fold the pre-modern into today, write poetry in code, and dance through Cartesian coordinates.

Prerequisite: IS 320

IS 381 Green Wood Working

Green wood working is a technically advanced, specific study of wood as a sculptural medium. This study begins with a living tree or a freshly cut log. The living material of the tree is encountered directly. The class provides a means for furthering a safe technical mastery of raw wood. Students learn a combination of modern and traditional skills in modern milling (sawing logs into planks), drying and skills in wood bending, riving, and shaping. Hand tools and some power tools are covered. Prerequisite: IS 202.

Prerequisite: IS 202

IS 384 Expanded Format II

By working from either a researched-based practice, or by deepening a material investigation, this course will allow students to evolve their own independent work. Expanding on traditional sculptural practices students will embrace new techniques, media and the performative aspects of making “sculpture” to develop unpredicted perspectives on the temporal, spatial and contextual parameters of sculpture. This course will also utilize site-specificity and site-responsiveness as generators for subverting preconceived ideas of how sculpture can function.

Prerequisite: FF 101

IS 399 Special Project in Sculpture

Variations of this course will engage students and faculty in focused project work based upon partnerships and/or topical research in conjunction with studio output.

IS 410 Junior/Senior Studio

Each semester, one or more visiting artists of recognition are invited to the MICA campus to work with a small group of seniors in their final semester of study. Students work with the artist(s) via studio critiques and informal discussions both individually and as a group. This course is intended to offer juniors and seniors contact with independent artists, to exchange views and opinions, as well as the opportunity to further their familiarity with the issues and strategies facing artists today. Prerequisite: Juniors and Seniors only.

Juniors and Seniors only

IS 424 Unravel the Code

"Unravel the Code" draws upon traditional crafts to explore emerging technologies of making. We pair weaving with digital algorithms, origami with parametric laser cutting, and handwork with cybernetic systems of control. The first half of the semester features hands-on workshops led by visiting experts. These inform student's research-based projects that become the focus of the second half of the semester. Students document and propel their research through an individual Creative Process Journal they keep online. The course concludes with a public presentation of these projects. This course is combined with a graduate section, and the two are taught together as one class that encourages interdisciplinary collaboration. Ryan Hoover and Annet Couwenberg are co-teachers, supported by a cast of technical experts from the fields of engineering, programming, and beyond. Students in Unravel the Code are encouraged to enroll in International Collaboration, an optional travel course centered on a week-long trip to the Netherlands to work with collaborators in digital crafts, engage in Dutch Design Week, and experience a culture where art technology and design readily merge.

Prerequisite: IS 320

IS 425 Concrete Culture

The urban environment is a complex blend of structures: physical, political, economic and cultural to name a few. The city’s smells, sounds, textures, and shapes; its development and decay; its architecture, surfaces, and interfaces; its spaces, places, and non-places; its economies and racial divisions all compose a complex text that is read through cultural/historical context, personal experience and materiality. Readings, films, lectures and discussions will augment students’ inquiries into the ways in which the urban fabric becomes site, inspiration and material for individual studio projects that may traverse many genres from site-specific to object-based works. Students will learn technical proficiency in the three major methods of working with concrete but will also be encouraged to alternative materials and methods in producing work in the urban context including examining the methods of the media and consumerist strategies in the urban environment.

Prerequisite: IS 200, or Graduate student standing

IS 435 Urban Resilience

"Public space is always political and strategic." -Krzysztof Wodiczko Increasingly humanity, and especially urban dwellers, is being called upon to forestall and recover from disruptions to built, social and natural systems. Urban resilience, the ability of a city to withstand crisis, is predicated upon adaptability, diversity and self-organization. Increasingly, the arts are looked to as the creative force thru which a city can respond, reshape and create the transformation of space to place rooted in possibility, imagination, critique and change. In this course, students will explore the ways in which an art practice within an urban context enters the discourse of the city, and possibly changes that discourse. Through studio projects, students will explore creating works in the context of Baltimore city that might respond to, or address urban issues such as race relations, shifting economic forces, livability, privilege, power, education, sustainability, poverty, urban planning, architecture, history and access - to name just a few. Methodologies of contextual practice will be explored which might include, urban intervention, new genres in public art, street art, relational esthetics, social practice, institutional critique, culture hacking and tactical urbanism. Students will produce temporary experimental works throughout the semester, as well as a final fully realized work within Baltimore City. Students will also examine the art historical precedence of these practices and the theoretical contexts thru lectures and readings.

Prerequisite: FF 101

IS 440 Reality TV

Reality is in a constant state of contention. Plato maintained that man lived in a world of shadows unable to see the mechanizations from which they emanated. Contemporary theorist Jean Baudrillard has proposed that reality is in a phase of displacement where it is constantly being reconstituted by simulations of what is real. In either case, our concept of reality is in part shaped through media. In this course we will focus on reality(and it’s contrapositive: fantasy, fiction and dreams) and how this has been explored in the traditions of documentary, video art , reality television and the web. We will examine the construction and phenomena of reality, identity and desire in the 21st century specifically related to time-based mediums such as video, sound and the internet. Through readings, lectures, films and discussion students will explore the methods of mass media as well as a critique of the media in the development of studio works. Historical and theoretical contexts will be examined including (but not limited to), the Situationists; pioneers in video work; and the advent of digital and web technologies. Emphasis will be placed on video installation, video and digital sculpture and web-based works. Introductory instruction in Final Cut Pro and Flash will be included as well as utilizing/exploring web-based media such as YouTube, blogs and so forth. Open to graduate and undergraduate, students in all majors. Pre: IS 200 or IS 266 or permission of the instructor

Prerequisite: IS 200 or IS 266

IS 445 Epic Fail

Discover how playful experimentation, thinking with your hands and embracing risk and failure can invigorate your creative practice. Together, investigate the role of emergent technologies in problem solving and forming, while exploring a constructionist learning perspective. This course is designed as a hands-on, participatory workshop in the fabrication lab, where students make and tinker together each week in order to develop critical making (and failing) process.

Prerequisite: Earned credit or concurrent enrollment in FF 130

IS 450 Co-Lab

Co-Lab is an experimental class bringing students and faculty together around a common research project. The course is informed by other research-based classes at MICA, but parallels structures found more commonly in university scientific research labs. The primary direction of the research is determined by the faculty leading the course, and varies each semester. Though this differs from the sort of autonomy typically afforded to students in a studio course, students are empowered as collaborators on a larger research project. Elements of the research are assigned to students individually or in small groups, aligned with the project goals and the students’ particular interests. Students work closely with the faculty leader to build a foundational understanding of the research area, determine research objectives, execute research, document process, integrate findings, and apply this new knowledge. Though closely supported by the faculty leader, students are expected to exercise agency, informed decision-making, and a personal commitment to the collaborative research project. By Permission Only.

Prerequisite: IS 320

IS 451 Material Libraries

Encourages students to collect and develop a library of physical materials, sound, video, or other forms of documentation. Expanding on the idea of an artist’s palette, a material library focuses on organized objects, parts, samples, documentation, and concepts. The class will consider structures such as archives, libraries, catalogs, and palettes as ways to more thoroughly develop the students’ artistic research. The semester will begin with lectures, visiting artists, and field trips that present a variety of different types of categorizations. Students will individually or collectively develop their own material libraries leading up to an end-of-semester exhibition. For the final project students will resource their collections to create a visual, spatial, or multimedia project that applies their research in strategic and innovative ways.

Open to students at the sophomore level or higher

IS 455 Ritual, Reliquaries, & Enshrin

Reliquaries form a bond between heaven and earth, linking humankind to ritual and devotional practices. Historically, artists used earthly materials to reconstruct the heavenly power of sacred objects, as well as tombs, shrines and places of worship. Relationships toward art and holiness will be explored as a means to understand art objects, which were fashioned in direct response to human needs, beliefs, and values. Students will develop ideas for their artwork after researching shrines and relics, both historical and contemporary. Work may be two or three- dimensional, site-specific, community based, a performance, pilgrimage, or other form of art intervention. One may consider working collaboratively or alone.

Prerequisite: 3 earned credits of 200-level 3D coursework

IS 498 Senior Independent

Students will develop a coherent body of work completed during the senior year for final presentation to a jury selected from the sculptural studies faculty. Periodic critiques to discuss progress, content, and process are conducted by faculty and invited critics.

Prerequisite: SS 300

IS 499 Senior Independent II

This course is a continuation of IS 400 leading to the final senior show. Periodic critiques. Open to Sculpture and General Sculpture majors only.

Prerequisite: SS 300