Yale University.Calendar.Directories.

Course Descriptions

In the following listings, courses numbered 110 through 499 are studio electives offered to students from Yale College, the Graduate School, and the professional schools. Permission of the instructor is required for enrollment in all courses. Graduate students of the School of Art who wish to broaden their experience outside their area of concentration have priority in enrollment.

Courses numbered 500 and above are offered only to graduate students of the School of Art. In exceptional cases qualified Yale College students may enroll in a graduate course, with the permission of both the instructor and the director of undergraduate studies. Please refer to the section on Academic Regulations for further pertinent details. It should be noted that, as a matter of policy, all faculty members teach on both the graduate and undergraduate levels, although the degree and the nature of contact may vary.

Tutorials, which are special courses that cannot be obtained through regular class content, require a proposal written by the student and the faculty member concerned, defining both content and requirements. Proposals must be presented to the Academic Subcommittee for approval.

For the most up-to-date course information, please see www.yale.edu/oci.

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Film/Video/Interdisciplinary is not a formal area of study in the School of Art; however, a number of students work primarily in film/video or interdisciplinary while enrolled in other areas. The School offers graduate video courses taught by practicing video artists. These classes address fundamental technical issues as well as the far more challenging questions of the contemporary practice of video by artists and this medium’s relation to other forms of art practice. Classes in video are taught in a variety of locations throughout the School of Art and are attended by students from all areas of study.

ART 111a or b, Visual Thinking An introduction to the language of visual expression, using studio projects to explore the fundamental principles of visual art. Students acquire a working knowledge of visual syntax applicable to the study of art history and popular culture, as well as art. Projects address all four major concentrations (graphic design, painting/printmaking, photography, sculpture). No prior drawing experience necessary. Open to all undergraduates; required for all art majors. Materials fee: $25. Anahita Vossoughi and Anoka Faruqee

ART 141a, Introductory Film Writing and Directing A workshop in which the problems and aesthetics of the medium are studied in practice as well as theory. In addition to exploring movement, image, montage, point of view, and narrative structure, students photograph and edit their own short videotapes. The writing and production of short dramatic scenes are emphasized in the fall term. Materials fee: $150. Priority to art and film studies majors. Prerequisite: ART 142b. Michael Roemer

ART 142b, Introductory Documentary Filmmaking Through a series of video exercises, students explore the craft of capturing and building motion images into a visual language. Camera, composition, lighting, sound, color, editing, and directing are explored. The course begins with the approach of finding stories and images in the world. Sandra Luckow

ART 145a or b, Introduction to Digital Video Digital video represents a provocative combination of vernacular and classical styles through its ease of use and its potential for extremely high production values. This class introduces the basic tools of digital video production. Topics include DV camera operation, sound, and Mac-based editing (Final Cut Pro). After students learn these basic techniques, the remainder of the class consists of individual and collaborative assignments that explore the visual language and production challenges of DV. This class is directed to the spatial and visual aspects of the medium rather than the narrative. The class also includes screenings of experimental films, video art, and DV feature films. Enrollment limited to twelve undergraduates. Materials fee: $150. Sarah Lasley

ART 185a, Principles of Animation This course examines the physics of movement in animated moving-image production, emphasizing historical and theoretical developments in twentieth- and twenty-first-century animation as frameworks for the production of animated film and visual art. Production focuses primarily on classical animation and digital stop-motion. Students utilize a variety of traditional and digital technologies to produce works that explore the fundamental principles of animation. In the first half of the course, students undertake weekly projects in dialogue with class lectures. The second half of the course is focused on individual project development, employing the core principles of animation in a work of the student’s design. Materials fee: $150. Johannes DeYoung

ART 202a, Feminist Theory and Feminist Art Major issues in feminist theory and art practice since the 1970s. Investigation of different concepts of feminism and how these definitions and agendas have been addressed in art. Reevaluation of the art historical canon sparked by Linda Nochlin’s groundbreaking essay “Why Have There Been No Great Women Artists?” (1971) and exploration of “women’s art” of the 1970s, performance and body art, essentialism vs. the social construction of gender, and the intersection of gender, race, sexuality, and class. Major figures such as Adrian Piper, Judy Chicago, Carolee Schneemann, Cindy Sherman, and Mona Hatoum, as well as lesser known and emerging artists are covered. Susan Cahan

ART 285b, Digital Animation An introduction to the principles, history, and practice of animation in visual art and film. With a primary focus on making, this course utilizes historical and theoretical developments in twentieth- and twenty-first-century animation as a framework for making digital animation. Production focuses primarily on digital stop-motion and compositing, as well as two-dimensional and three-dimensional computer-generated animation. Students gain an understanding of the principles of animation and develop skill sets in Final Cut Pro, After Effects, and Maya 2012. Materials fee: $150. Prerequisite: ART 111a or b, ART 114a or b, or ART 145a or b. Johannes DeYoung

ART 301b, Critical Theory in the Studio This course introduces students to key concepts in modern critical theory and examines how these ideas can aid in the analysis of creative work in the studio. Psychoanalysis, Marxism, feminism, structuralism, and poststructuralism are examined in relation to modern and contemporary movements in the visual arts, including cubism, surrealism, Arte Povera, pop, minimalism, conceptual art, performance art, the pictures group, and the current relational aesthetics movement. Materials fee: $25. Joy Jeehye Kim

ART 341a or b, Intermediate Film Writing and Directing In the first half of the term, students learn the tools and techniques of staging, lighting, and capturing and editing the dramatic scene, and write three-scene short films. In the second half of the term, students, working collaboratively, produce their films. Focus on using the tools of cinema to tell meaningful dramatic stories. Materials fee: $150. Prerequisite: ART 141a or 142b. Michael Roemer and Jonathan Andrews

ART 342b, Intermediate Documentary Filmmaking Students explore the storytelling potential of the film medium by making documentary art. The class concentrates on finding and capturing intriguing, complex scenarios in the world and then adapting them to the film form. Questions of truth, objectivity, style, and the filmmaker’s ethics are scrutinized using examples of the students’ work. The term begins with exercises in storytelling principles and progresses to students’ short projects. Materials fee: $150. Prerequisite: ART 141a or 142b. Sandra Luckow

ART 395a, Junior Seminar Ongoing studio projects discussed and evaluated with an emphasis on their relationship to contemporary issues in art, criticism, and theory. Readings, slide presentations, critiques by School of Art faculty, and gallery and museum visits. Critiques address all four areas of study in the art major (graphic design, painting/printmaking, photography, sculpture). Prerequisite: at least four courses in art. Required for all art majors. Dushko Petrovich

ART 442a and 443b, Advanced Film Writing and Directing A yearlong workshop designed primarily for art and film studies majors making senior projects. Each student writes and directs a short fiction film. The first term focuses on the screenplay, production schedule, story boards, casting, budget, and locations. In the second term students rehearse, shoot, edit, and screen the film. Enrollment limited to eight. Priority to majors in art and in film studies. Materials fee: $150. Prerequisite: ART 341a or b. Jonathan Andrews

ART 495a and 496b, Senior Project A yearlong project of creative work formulated and executed by the student under the supervision of faculty and an adviser designated in accordance with the direction of the student’s interest. Proposals for senior projects are submitted to the School of Art Undergraduate Studies Committee (USC) for review and approval at the beginning of the academic year. The fall term is spent working on preparation and physical making of preliminary pieces, while the spring term is spent honing the pieces. Weekly seminar meetings are held throughout the year. Projects are reviewed and graded by an interdisciplinary committee of members of the School of Art faculty and a guest critic. A public exhibition of selected work created in the project is expected of each student. Enrollment limited to senior art majors. Robert Storr and Lisa Kereszi

[ART 902a, Video Performance Art Workshop An interdisciplinary art workshop for students interested in extending their ideas and practice into video, performance, and/or other time-based media. Participants learn basic production skills and work individually and collaboratively. Class time is spent working on projects as well as on screenings, group critiques, and discussions of readings related to the field. Enrollment limited to sixteen graduate art students, four from each department. Not offered in 2014–2015]

ART 949a, Critical Practice Required for all first-year graduate students in the School of Art. Four sections are offered in the fall term. First-year graduate students are required to take one of these sections in their first term and will receive three credits for satisfactory completion. The sections vary widely in subject matter but are not limited to distinct areas of study. They range from technical introductions to theoretical and critical studies. Students are randomly assigned to sections, with a goal that each section contains a mix of students from all areas of study in the School. Robert Storr and faculty

ART 951b, Video Seminar This seminar focuses on facilitating the work of graduate students who are actively engaged in producing videos. It encourages the development of student work by creating informational and creative relays between student production and the work of other video artists. Class time is spent discussing student work, reading artists’ writings on video and theoretical texts, and viewing a wide array of art video. Limited enrollment; open to all M.F.A students. Michel Auder

ART 960b, Writing for Artists This seminar is designed to help graduate students refine their writing skills and develop a greater understanding of how the use of language relates to their studio practice and their development as professional artists. In weekly workshops, students create, distribute, read aloud, and discuss their own writing in whatever form it takes: statements, reviews, manifestos, lists, publicity, poetry, fiction, autobiographical sketches, or scripts. Published writings by established artists are also read and discussed. Limited enrollment; open to all M.F.A. students. Rick Moody

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Graphic Design

[ART 001a, Visual Biography Diaries, journals, and scrapbooks studied as authoritative examples of visual autobiography. Social history and visual methods, focusing on American and British cultural life between the world wars. Exercises in collecting, collage, and composition; methods of visually navigating space, time, and memory; discussion of the asynchronous nature of biography. Enrollment limited to fifteen freshmen. Preregistration required through the Freshman Seminar Program. Not offered in 2014–2015]

[ART 003b, Blue The cultural and iconic history of the color blue and its role as both a method and a motive for making work in the studio. The word “blue” and its etymological core, evocative connotations, colloquial nuance, and semantic role in different languages and cultures; scientific and sociological issues; blue in film and the fine arts. Projects experiment with writing, collecting, collage, and digital video. Use of materials from the Beinecke Library. Enrollment limited to fifteen freshmen. Preregistration required through the Freshman Seminar Program. Not offered in 2014–2015]

ART 005a, Interactive Concrete Poetry This seminar and studio focus on Concrete Poetry, a genre that utilizes the semantic, visual, and phonetic elements of language as raw materials to arrange words in space. During the first half, students survey Concrete Poetry as a historic art movement that rose in the 1950s–70s simultaneously around the world (Brazil, England and Europe, United States and Canada, Japan). During the second half, the seminar becomes studio. While the concrete poems of the past were created in response to the constraints of the physical page, students in this class create poems that respond to contemporary ideas of digital space. They learn HTML and CSS as well as Processing, basic code languages. To practice learning these new tools and also to focus on poetic techniques, processes, and/0r constraints, students complete short in-class experiments, small homework assignments, and one larger project. Enrollment limited to fifteen freshmen. Preregistration required through the Freshman Seminar Program. Laurel Schwulst

ART 006a or b, Art of the Printed Word Introduction to the art and historical development of letterpress printing. Examination of typographic design, the evolution of private presses, and contemporary printing practices. A historical survey of fine printing, complemented by a practical study of press operations using antique plate presses and the modern cylinder proof press. Topics include typesetting with both hand-set metal and digital type, paper stock and ink selection, basic hand-binding, computer-based design applications, and new technologies such as photopolymer plates. Enrollment limited to fifteen freshmen. Preregistration required through the Freshman Seminar Program. Richard Rose

ART 132a or b, Introductory Graphic Design A studio introduction to visual communication with an emphasis on principles of the visual organization of design elements as a means to transmit meaning and values. Topics include shape, color, visual hierarchy, word/image relationships, typography, symbol design, and persuasion. Development of a verbal and visual vocabulary to discuss and critique the designed world and contribute significant projects to it. Materials fee: $150. Yeju Choi and Henk van Assen

ART 264a, Typography I An intermediate course in graphic design concentrating on the fundamentals of typography, and particularly on how typographic form and visual arrangement create and support content. The course work is based on designing and making books and employs handwork and computer technology. Typographic history and theory are discussed in relation to course projects. Materials fee: $150. Prerequisite: ART 132a or b. John Gambell and Julian Bittiner

ART 265b, Typography II Continued studies in typography incorporating more advanced and complex problems. Emphasis on exploration of grid structures, sequentiality, and typographic translation, particularly in the design of contemporary books, and screen-based kinetic typography. Relevant issues of design history and theory are discussed in conjunction with studio assignments. Materials fee: $150. Prerequisites: ART 132a or b and ART 264a. Henk van Assen

ART 368a, Intermediate Graphic Design Various ways that design functions; how visual communication takes form and is recognized by an audience. Core issues inherent in design: word and image, structure, and sequence. Analysis and refinement of an individual design methodology. Attention to systematic procedures, techniques, and modes of inquiry that lead to a particular result. Materials fee: $150. Prerequisites: ART 132a or b and ART 264a, or permission of the instructor. Pamela Hovland

ART 369b, Interactive Design Interactive design explored through the development of projects that are based online. Concepts of prompt, feedback, and variable conditions; Web-specific design issues such as navigation and pacing, as well as design for variable sizes and devices; best practices in code craft and design. The Web as a social ecosystem in which time and performance play important roles. Instruction in HTML, CSS, and some JavaScript. No prior programming experience required. Materials fee: $150. Prerequisite: ART 132a or b, or permission of the instructor. Laurel Schwulst

ART 370a, Motion Design This studio class explores how the graphic designer’s conventions of print typography and the dynamics of word-image relationship change with the introduction of time, motion, and sound. Projects focus on the controlled interaction of words and images to express an idea or tell a story. The goal is to experience firsthand the extra dimensions of time-based communications, and to choreograph aural and visual images through selection, editing, and juxtaposition. Materials fee: $150. Prerequisite: ART 264a or 368a, or permission of the instructor. Christopher Pullman

ART 468a and 469b, Advanced Graphic Design This studio course asks how the individual designer can be idiosyncratic in the work that he or she produces, at the same time that the work communicates on its own to a broad audience. Projects focus on the extra dimensions of time-based communications; the controlled interaction of words and images to express an idea or tell a story; the choreography of aural and visual images through selection, editing, and juxtaposition. No prior technical experience required. Materials fee: $150. Prerequisites: ART 264a and ART 368a, or permission of the instructor. Julian Bittiner, Douglass Scott, and Henk van Assen

Graphic Design 710a and 711b, Preliminary Studio For students entering the three-year program. This preliminary-year studio offers an intensive course of study in the fundamentals of graphic design and visual communication. Emphasis is on developing a strong formal foundation and conceptual skills. Broad issues such as typography, color, composition, letterforms, interactive and motion graphics skills, and production technology are addressed through studio assignments. Barbara Glauber and Scott Stowell

Graphic Design 720, Graduate Studio For students entering the two-year program. The first-year core studio is composed of a number of intense workshops taught by resident and visiting faculty. These core workshops grow from a common foundation, each assignment asking the student to reconsider text, space, or object. We encourage the search for connections and relationships between the projects. Rather than seeing courses as being discreet, our faculty teaching other term-long classes expect to be shown work done in the core studio. Over the course of the term, the resident core studio faculty help students identify nascent interests and possible thesis areas. Sheila Levrant de Bretteville, Michael Bierut, Paul Elliman, Karel Martens, and Susan Sellers

Graphic Design 730, Graduate Studio For second-year graduate students. This studio focuses simultaneously on the study of established design structures and personal interpretation of those structures. The program includes an advanced core class and seminar in the fall; independent project development, presentation, and individual meetings with advisers and editors who support the ongoing independent project research throughout the year. Other master classes, workshops, tutorials, and lectures augment studio work. The focus of the second year is the development of independent projects, and a significant proportion of the work is self-motivated and self-directed. Sheila Levrant de Bretteville, Michael Bierut, Irma Boom, Paul Elliman, Michael Rock, Susan Sellers, and Linda van Deursen

Graphic Design 739, Degree Presentation in Graphic Design For second-year graduate students. Resolution of the design of the independent project fitting the appropriate medium to content and audience. At the end of the second term, two library copies of a catalogue raisonné with all independent project work are submitted by each student, one of which is retained by the University and the other returned to the student. The independent project or “thesis” is expected to represent a significant body of work accomplished over the course of two years, culminating in the design of an exhibition of the work. Sheila Levrant de Bretteville, Keira Alexandra, Alexander Isley, Dan Michaelson, and Susan Sellers

Graphic Design 740a, Typographic Form + Meaning Creating typography that says what it means and means something more. Conventional typography is ostensibly unlearned to bring words and meaning into focus as important drivers of visual form-making and the development of a formal language. An essential by-product is expanding the conceptual framework of projects through responding to formal experimentation and innovation. Projects are print-based, providing various phases of vivisection and reconstitution of individual content and direction. All content is self-initiated, drawing from the student’s thesis and related subjects. Allen Hori

Graphic Design 741b, Typography at Large This course explores a series of typographic projects in which students address typography in terms of color, form, scale, and place. Each student chooses content appropriate to experimentation with typographic form, translating language into a set of projects interrelated both conceptually and formally. Students work in large-scale print (e.g., posters, billboards, banners, newspapers). Other media may be examined; three-dimensional space and/or type in motion can be among the selected narrative tools. Henk van Assen

Graphic Design 742b, Networks and Transactions For first-year graphic design students. How can graphic design influence and be influenced by the unpredictable encounters between one group and another? Or between quantities of unknown users on one side, and vast webs of fluctuating information on the other? In this course students develop typographies, visual languages, and motion vocabularies appropriate for these pervasive conditions of the modern world, found in experiences as varied as Facebook, YouTube “supercuts,” the game of chess, automated stock trading, and the organization and speech patterns of political movements. The course posits that designed form may sometimes be visible, and at other times be relational or latent rather than directly seen. The class is primarily a studio course but also includes a programming lab in which fundamentals of coding are taught through hands-on work each week. No previous programming experience is assumed, and completed projects are expected to be technological in nature. Weekly reading discussions from a range of sources complete a triangle of design, practice, and theory. Dan Michaelson

Graphic Design 743a, Type Design Type design is distinct from “lettering” in that it necessarily calls for a systematic approach, not just a concern for individual forms. The course focuses on a clear, systematic procedure to building the design of a typeface, as well as the aesthetic issues presented by single letters. The class is taught with FontLab, a type-design program for the Macintosh® that allows designers to digitize letterforms on screen and turn them into usable fonts. Students learn the software, together with the principles of designing and spacing type. Fully fledged type designers are not made in one term; the object is to “demystify” the subject and teach users of type an increased appreciation of it. Students work on individual projects, chosen in consultation with the instructors. Individual projects should be carefully chosen, so that the availability of the student’s new font makes a real contribution and serves a clear purpose. With the problems of type design so deeply interconnected, a clearly defined project is necessary to establish solid criteria for subsequent work. The nature of the project determines the route each student takes in researching his or her design. If appropriate to the project, students spend time rendering letterforms by hand, investigating historical sources, or starting immediately on screen. Tobias Frere-Jones and Matthew Carter

Graphic Design 745a, Typography in Context: Methods, Conventions, and Experiments Part methodological, part historical, part experimental, this studio course investigates contemporary Latin-based typography with an emphasis on craft and expression. Typography is not the dutiful application of a set of rules; however, both inherited and emerging conventions across various geographies and media are closely examined. Students learn to skillfully manipulate these conventions according to the conceptual, formal, and practical concerns of a given project. Supported by historical and contemporary writing and examples, assignments aim to develop observational and compositional skills across a variety of media, oscillating between micro- and macro-aesthetic concerns, from the design of individual letterforms to the setting of large texts, and everything in between. The course includes a short workshop in lettering, but the primary focus is on digitally generated typography and type design. Experimentation with nondigital processes is also encouraged. Students develop an increasingly refined and personal typographic vocabulary, customizing assignments according to their skills and interests. Julian Bittiner

Graphic Design 747b, Design for Video and Film In the last decade, the world of design and image making in video and film production has become an increasingly hybrid one, including aspects of direction, art direction, illustration, animation, design, and sound design. The class focuses on storytelling and on building concepts into compelling messages. Special emphasis is given to experimental techniques and to the question of relevance in the students’ formal decision making. Weekly meetings include group critiques, viewings, readings, and occasional guest speakers. The projects encourage students to extend their ideas into a time-based medium. Neil Goldberg

Graphic Design 752a, Mobile Computing For second-year graphic design students. This course explores the unique opportunities and qualities available to technology-based design when it is placed in the hands and ears of pedestrians, drivers, aviators, tourists, and other mobile agents. From Paul Virilio’s observation that the Walkman provided pedestrians the syncretic construction of their own outdoor realities “in kit form,” to the 25 billion iPhone applications that have now been downloaded, from “glass cockpits” and GPS systems to handheld museum guides, graphic designers now commonly shift the very interface between people and the environments they explore. But how should we? With reference to avant-gardes that have contributed to and predicted today’s state of the art, including Fluxus, outdoor communication through fashion, and science fiction, the class asks students to design their own applications for the iPhone and other mobile devices. We focus in particular on interaction design for public and private contexts, and user experiences that include users, device, and environment. Applications are Web-based so that advanced programming is not required. Students need not own a smartphone. Graphic Design 742b or similar experience is strongly recommended. Dan Michaelson

Graphic Design 762b, Exhibition Design For second-year graduate students. Problems in the graphic design of a collaborative and self-initiated exhibition. Prerequisite: Graphic Design 752a. Glen Cummings

Master Classes in Graphic Design These are one or two weeks in duration and generally take place at the beginning of the term when both instructor and students are free to devote full time to a single, intensive project. In recent years, master classes have been conducted by Michael Bierut, Irma Boom, Matthew Carter, Paul Elliman, Karel Martens, Sigi Moeslinger, Jonathan Puckey, Masamichi Udagawa, and Roel Wouters. Students are admitted at the discretion of the instructor.

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ART 004a, Words and Pictures How words and pictures combine to tell a story. We look at handmade illuminated manuscripts and biblical paintings; hand-printed picture stories; machine-printed comic strips and graphic novels. Assignments exploring representation and narration, culminating in a self-directed individual project. Enrollment limited to freshmen. Preregistration required through the Freshman Seminar Program. Dushko Petrovich

ART 114a or b, Basic Drawing An introduction to drawing, emphasizing articulation of space and pictorial syntax. Class work is based on observational study. Assigned projects address fundamental technical and conceptual problems suggested by historical and recent artistic practice. No prior drawing experience necessary. Open to all undergraduates; required for all art majors. Materials fee: $25. Munro Galloway, Marie Lorenz, Samuel Messer, Robert J. Reed, Jr., William Villalongo, Natalie Westbrook, and faculty

ART 116b, Color Practice Students are introduced to the theory and practice of color through observation, experimentation, readings, screenings, discussion, and creative projects. We attempt to arrive at an understanding of color as an evolving scientific, philosophical, and cultural phenomenon. Students are encouraged to consider the role of color in historical and contemporary art practices and in relation to their own artistic development. Materials fee: $25. Munro Galloway

ART 130a, Painting Basics An introduction to painting issues, stressing a beginning command of the conventions of pictorial space and the language of color. Class assignments and individual projects explore technical, conceptual, and historical issues central to the language of painting. Intended for students not majoring in art and for art majors outside the painting concentration. Students who intend to pursue the painting concentration, or take multiple courses in painting, should take Introductory Painting. Materials fee: $75. Anoka Faruqee, Munro Galloway, and faculty

ART 223a and 224b, Figure Drawing The study of the human figure using a range of approaches, with emphasis on observation, anatomy, and spatial structure. Historical examples from cave painting to contemporary art are presented. Materials fee: $75 per term. Prerequisite: ART 114a or b or equivalent. Samuel Messer and William Villalongo

ART 230a and 231b, Introductory Painting An introduction to concepts and techniques in painting, through observational study, with emphasis on the language of color and the articulation of space. The study of pictorial syntax in historical painting and the mastery of materials and techniques are integral components of the course. Materials fee: $75 per term. Prerequisite: ART 114a or b or ART 130a, or equivalent. Robert J. Reed, Jr.

[ART 245a, Digital Projection The study of the theory and techniques of the projected digital image. Topics include the structure of the digital image, print and projected media, the spatial architecture of projection, and multiple-projector projection. Readings examine the historical development of digital imaging and early projection-based installation. In the first half of the course, students undertake directed projects centered on these topics. The second half of the course is focused on individual development and exploration. Enrollment limited. Materials fee: $150. Prerequisite: ART 111a or b or ART 114a or b, or permission of the instructor. Not offered in 2014–2015]

ART 324b, Painting Materials and Methods An introduction to the historical materials and methods of painting taught in both the studio and museum setting. Students study masterworks hanging at the Art Gallery and the Center for British Art and then explore a variety of observed techniques in their own painting. Three classes of paint—quick-drying indirect tempera, slow-drying and layered oil paint, and the modernist direct application of paint—are considered, as well as a variety of painting supports including wood, canvas, paper, and metal. Materials fee: $75. Prerequisite: ART 114a or b or ART 130a, or permission of the instructor. Mark Aronson

ART 331b, Intermediate Painting This course is designed to be a bridge between the basic concepts and materials of painting and the development of individual studio practice and an orientation to contemporary painting discourse. Students are expected to work independently and make more than twenty paintings. Assignments are given on an individual basis, and students move through an array of self-directed subject matter accompanied by readings that frame a contemporary discourse around painting. Major group critiques as well as individual meetings take place throughout the term. Students are introduced to a range of painting practices through slide lectures, gallery talks, field trips, and demonstrations on process and materials. Materials fee: $75. Prerequisite: ART 230a or 231b. William Villalongo

ART 332a, Painting Time Matching painting techniques with conceptual ideas exploring how painting holds time both metaphorically as well as within the process of creating the work. The class meets at various Yale locations, which serve as subjects for the creation of observational, on-site paintings. Materials fee: $75. Prerequisite: ART 130a or ART 230a or 231b, or permission of the instructor. Samuel Messer

ART 355b, Silkscreen Printing This course presents a range of techniques in silkscreen and photo-silkscreen, from handcut stencils to prints using four-color separation. Students create individual projects in a workshop environment. Materials fee: $150. Prerequisite: ART 114a or b or equivalent. Open to graduate students. Marie Lorenz

ART 356a, Printmaking I This course introduces a diverse range of traditional printmaking techniques, including linocut, woodcut, collography, and etching. Drawing is a major component of printmaking; we draw on site, create images with collage, and build upon our own invention. This course looks carefully at the history of prints, using Yale libraries and museums. Assignments are designed to strengthen skills in a workshop environment, culminating in a cohesive portfolio of prints. Materials fee: $150. Prerequisite: ART 114a or b or equivalent. Marie Lorenz

[ART 359b, Lithography Basic techniques of stone and plate lithography. Students create prints utilizing drawing and/or photo-based imagery. It is recommended that students have a basic knowledge of Photoshop. Materials fee: $150. Prerequisite: ART 114a or b or equivalent. Open to graduate students in all media. Not offered in 2014–2015]

ART 430a and 431b, Advanced Painting Studio Development of individual themes through independent studio practice. Studio work is complemented by discussion of pertinent topics in historical and contemporary painting. Senior art majors in the painting concentration are encouraged to take ART 430a in advance of ART 495b. Can be taken more than once. Materials fee: $75 per term. Prerequisite: ART 331b. Anna Betbeze and Rochelle Feinstein

ART 457b, Printmaking II Students develop individual projects using both traditional and new print media. We study the history of printmaking through our practice of relief methods such as etching, woodblock, and linocut. We also explore models of contemporary printmaking, using digitally produced matrices and transfer processes. Materials fee: $150. Prerequisite: ART 355b, 356a, or 359b, or equivalent. Open to graduate students in all media. Marie Lorenz

Painting 516a, Color Space The term color space refers to a range of color mapped by a system, such as RGB or CMYK. But, long before these models were used to describe color on screen or paper, artists were utilizing systems to organize color in their work. Hue, value, saturation, and surface are all relative components artists use to structure color in specific ways. In this course we explore the space of color, from its visual and psychological qualities to its relationship to language and culture. Through assignments and critiques, students experiment with different approaches to using color in their own work. Readings and presentations examine principles of color interaction, as well as color’s expressive and symbolic potential. Open to students working in all media. Anoka Faruqee

Painting 524b, Painting and Material Contingencies This course provides an integrated, materials-based look at painting that seeks to overcome the false dichotomy of subject matter/technique or even form/content. Too often paintings are looked at as disembodied images, while materials and techniques are addressed without taking pictorial needs into account. We approach both historical and contemporary works of art as handmade objects in which particular materials and processes are utilized toward specific goals. Traditionally, the discovery of new materials opened up previously unimagined possibilities for artistic practices, which led to the establishment of new pictorial facts. Simultaneously, ideological demands and pictorial needs of the age prompted experimentation with materials both familiar and unfamiliar, creating new techniques and ultimately new forms. This course gives students a greater understanding of the construction of a painting and helps them see if the needs of their own work are answered by their materials and resulting practices. There are group and individual critiques, slide lectures, and visits to museums and galleries including access to the archives of the Ralph Mayer Learning Center. Jessica Dickinson

Painting 540a, Graduate Drawing Seminar Why draw? Where does our impulse to draw and our particular way of making come from? With a focus on portraiture, we examine how we make and think about constructing a drawing. The class is also invested in exploring the benefits of collaborative art making. This is a hands-on class where “making” is a premium component. Samuel Messer

Painting 545, Individual Criticism Limited to graduate painting students. Criticism of individual projects. Anoka Faruqee, Rochelle Feinstein, David Humphrey, Byron Kim, Marie Lorenz, Samuel Messer, Sarah Oppenheimer [F], and Robert J. Reed, Jr.

[Printmaking 550b, Graduate Printmaking Seminar This course is intended for graduate students who wish to develop individual projects in a wide range of printmaking mediums, including both traditional techniques and digital processes and outputs. Participants develop new works and present them in group critiques that meet every other week. Students should have sufficient technical background in traditional printmaking mediums (etching, lithography, silkscreen, or relief) as well as a fundamental understanding of graphic programs such as Photoshop. Demonstrations in traditional mediums are offered in the print studio. Students use the DMCA for digital work. Not offered in 2014–2015]

Printmaking 551a, Special Projects in Printmaking A course designed for those with experience who wish to create etchings, relief prints, lithographs, silkscreens, and hybrid forms. All participants must have demonstrated capability in their selected media. Individual meetings are held on a weekly basis with the instructor in an advisory capacity, in the print studio, the student’s studio, or another Yale campus resource location, such as the Art Gallery or the Beinecke Library. All participants meet every three weeks for a group critique. Open to first- and second-year graduate art students. Prerequisites: knowledge of printmaking and permission of the instructor; special application required for admission. Rochelle Feinstein

[Painting 553a, LABoratory This course investigates the pictorial devices, conceptual positions, tropes, pedagogies, and contexts surrounding the practice of painting in America from the mid-1950s to the present. Paintings are viewed and discussed in relation to other current practices, as well as in terms of the ambient cultural/social environment. A wide variety of contemporaneous source material is read, screened, and discussed. Assigned projects and presentations are premised upon the specific issues suggested by the works under discussion. Students are required to read assigned short texts weekly and screen film and video materials on a regular basis. Not offered in 2014–2015]

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ART 136a or b, Introductory Black-and-White Photography An introductory course in black-and-white analog photography concentrating on the use of 35mm cameras. Topics include the “lens-less” techniques of photograms and pinhole photography; fundamental printing procedures; and the principles of film exposure and development. Assignments encourage the variety of picture-forms that 35mm cameras can uniquely generate. Student work is discussed in regular critiques. Readings examine the invention of photography and the “flaneur” tradition of small-camera photography as exemplified in the work of artists such as Henri Cartier- Bresson, Helen Levitt, Robert Frank, and Garry Winogrand. Enrollment limited. Materials fee: $150. Lisa Kereszi and Kate Greene

ART 138a or b, Introductory Digital Photography An introductory course in the exploration of the transition of photographic processes and techniques into digital formats. A range of tools is presented, including scanning, digital cameras, retouching, color correction, basic composition, and ink-jet printing. Students produce original work throughout the technical component of the class. After mastering the basics, students work toward the completion of a final project, and remaining classes focus on critiques. Throughout the term, lectures and presentations raise critical issues concerning the impact of digital applications and by-products on the medium of photography. Enrollment limited. Materials fee: $150. Kate Greene, Curran Hatleberg, and Ka-Man Tse

ART 237a, Intermediate Black-and-White Photography A course in black-and-white photography extending the concerns of ART 136a or b. Students are introduced to the use of medium-format cameras and instructed in specialized topics such as night photography, the use of flash, and the manipulation of roll film; later in the term they learn basic digital scanning and grayscale printing techniques and explore the use of color in their photographs. Student work is discussed in regular critiques, supplemented by lectures and readings that consider the rich tradition of handheld photography and the production of artists such as George Brassaï, Diane Arbus, Lee Friedlander, and Robert Adams. Enrollment limited. Materials fee: $150. Prerequisite: ART 136a or b or equivalent. Lisa Kereszi

ART 338a, Intermediate Digital Photography Exploration of both the technical and conceptual aspects of digital photography. A range of tools is used, including advanced film scanning, working with RAW files, masks, compositing and grayscale, and color ink-jet printing. Students produce original work, with special attention to ways in which their technical decisions can clarify their artistic intentions. Materials fee: $150. Prerequisite: ART 138a or b. Meredith Miller

ART 379b, Photographic Techniques A course for experienced photography students to become more deeply involved with the important technical aspects of the medium, including a concentrated study of operations required in the use of view cameras, added lighting, and advanced printing techniques. Scanning and printing of negatives are included. Student work is discussed in regular critiques. Review of significant historic photographic traditions is covered. Students are encouraged to employ any previous digital training although class is primarly analog. Materials fee: $150. Prerequisite: ART 237a or permission of the instructor. Benjamin Donaldson

ART 401b, Advanced Photography A course intended for those wishing to explore intensely the practice of photography, whether analog or digital. The class is structured around individual projects, editing, and output size. Through the history of photography and film, discussions center on the potentials of black-and-white photography, color photography, video, and the assimilation of the three. Materials fee: $150. Prerequisites: ART 379b or equivalent, and, for those working digitally, ART 338a. Required for art majors concentrating in photography. Gregory Crewdson

Photography 822a, Digital Imaging: A Photographic Approach to Scanning, Printing, and Color Correction For first-year photography students. Structured to give students a comprehensive working knowledge of the digital workflow, this class addresses everything from capture to process to print. Students explore procedures in film scanning and raw image processing, discuss the importance of color management, and address the versatility of ink-jet printing. Working extensively with Photoshop, students use advanced methods in color correction and image processing, utilizing the medium as a means of refining and clarifying one’s artistic language. Students are expected to incorporate these techniques when working on their evolving photography projects and are asked to bring work to class on a regular basis for discussion and review. Benjamin Donaldson

Photography 823a, Critical Perspectives in Photography For second-year photography students. This class is team-taught by curators and critics, who approach photography from a wide variety of vantage points, to examine critical issues in contemporary photography. The class is taught both in New Haven and New York at various museums and art institutions. The course is designed to help students formulate their thesis projects and exhibitions. Gregory Crewdson

Photography 824b, Experimental Documents: Video Art and the Photographic Subject For first-year photography students. As the digital model of photography increasingly blurs distinctions between downloads, frame grabs, high-res captures, and sequential images, and artists look to address the multimedia landscape that is everyday life, a new perspective is opened up on the entwined relationship between still and moving image as visual art. This class examines how photographic genres such as psychological portraiture, street photography, the social landscape, appropriation, and cinematic tableaux have been addressed, scrutinized, and extended in both early experimental film and contemporary video art. In a series of production workshops, students explore various approaches and techniques for reinterpreting their photographic subjects into video and other screen-based mediums, while regular screenings and critical reading are the focus of in-class discussions. John Pilson

Photography 825b, Technical Seminar in Photographic Reproduction Priority given to second-year graduate students in photography. A general examination of the production of photographic books, including an investigation of the processes of photographic reproduction. Thomas Palmer

Photography 828, Issues in Contemporary Photography A full-year course for first-year photography students. This course explores approaches to contemporary photography, from 1975 to the present, beginning with the first generation of postmodernism. Students examine the relationship that art photography has to popular culture and the blurred relationship among photography, film, fashion, advertising, and pornography. Trends and approaches to art photography, including tableaux, appropriation, abstraction, and simulation, are studied. Students also explore how contemporary photographers have worked to challenge, expand, and reinvent such traditional genres as portraiture, the nude, landscape, and still-life photography. Visiting artists, photographers, and filmmakers talk about their work in the context of the discussions at hand. Gregory Crewdson

Photography 845, Individual Criticism Limited to graduate photography students. Ongoing work is reviewed at weekly seminar meetings and privately. Gregory Crewdson [Sp], Philip-Lorca diCorcia, John Pilson, Collier Schorr, Taryn Simon, and faculty

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ART 002b, Paper This freshman seminar explores paper as a material from which to make art. We study how paper is made, and the myriad ways that it is used in the arts. Taking advantage of the resources of the University, we look at holdings in the Yale Art Gallery, the Yale Center for British Art, the Arts of the Book collection in the Haas Family Arts Library, and the Beinecke Rare Book and Manuscript Library. Various professionals at these institutions collaborate with the instructor to provide a broad view of the materials at hand. Half of the course time is spent making things out of paper, using the material to explore the formal properties of sculpture including volume, mass, line, and structure. This exploration also includes an introduction into how paper is used in the world of contemporary art and a workshop in papermaking. Enrollment limited to fifteen freshmen. Preregistration required through the Freshman Seminar Program. Elana Herzog

ART 110a or b, Sculpture Basics The concepts of space, form, weight, mass, and design in sculpture are explored and applied through basic techniques of construction and material. Various techniques of gluing and fastening, mass/weight distribution, hanging/mounting, surface/finishing, and types of materials are addressed. In addition to the hands-on application of sculptural techniques, class time is spent looking at various concepts and approaches to the understanding and development of sculptural ideas, from sculpture as a unified object to sculpture as fragmentary process. Selected readings complement the studio work. An introduction and orientation to the wood shop and metal facilities is covered. The shops and the classroom studio are available during days and evenings throughout the week. This course is recommended before advancement into ART 120a, 121b, 122a, or 125a. Enrollment limited to twelve. Materials fee: $75. Michelle Lopez and faculty

ART 120a, Object and Space An introduction to wood and woodworking technology through the use of hand tools and woodworking machines. Students are guided in the construction of singular objects and learn strategies for installing those objects in order to heighten the aesthetic properties of each work. Students discover both how an object works in space and how space works upon an object. Materials fee: $75. Julian Gilbert-Davis

ART 121b, Structure and Construction of Form An introduction to working with metal by examining the framework of cultural and architectural forms. A focus is the comprehensive application of construction in relation to concept. The class offers instruction in welding and general metal fabrication in order to create forms in response to current issues in contemporary sculpture. It also gives a solid foundation in learning how the meaning of work derives from materials and the form those materials take. Materials fee: $75. Brent Howard

ART 122a, Digital Forms in Time An exploration of how digital tools can inform the production of three-dimensional objects. The course includes workshops focused on digital photography, including digital RAW photography, video, editing, basic lighting, color correction, and ink-jet printing. The class also introduces students to some basic woodworking and welding. Students develop projects in response to assignments focused on the intersection of digital processes with a variety of different materials and subjects. Enrollment limited. Materials fee: $150. Sandra Burns

ART 125a, Sculpture in Reproduction This course offers instruction in the practical aspects of mold making and casting in a variety of materials and techniques. The objective is to provide students with the principles of this traditional technology and infuse these techniques into their practice and creation of sculpture. A foundation in how objects around us are reproduced is essential for the modern sculptor in a culture of mass production. Contemporary issues of art and culture are also discussed. Students are introduced to four major types of molding techniques: waste molds, piece molds, life casts, and flexible molds. Materials fee: $75. Carolyn Salas

[ART 210b, Sculpture as Object Introduction to concepts of design and form in sculpture. Exploration of the use of wood, including both modern and traditional methods of carving, lamination, assemblage, and finishing. Fundamentals of metal processes such as welding, cutting, grinding, and finishing may also be explored on a limited basis. Group discussion complements the studio work. The shops and the studio are available during days and evenings throughout the week. Enrollment limited to twelve. Materials fee: $75. Not offered in 2014–2015]

ART 345a and 346b, Dematerial/Material In this course students continue to work in response to assignments. These assignments are designed to provide further investigation into the history of making and thinking in sculpture and to raise questions pertinent to contemporary art. The opportunity exists to explore new techniques and materials while honing familiar skills. This course is designed to help students become self-directed in their work. Individual and group discussion, and visits to museums and galleries, play a significant role. Enrollment limited to twelve. Materials fee: $75. Prerequisite: ART 120a, 121b, 122a, or equivalent, or permission of the instructor. Julian Gilbert-Davis and Brent Howard

ART 348b, Body, Space, and Time This course provides an exploration of both the conceptual and technical aspects of time-based work, from video and installations to performance, sound, and object making. A variety of workshops and techniques supporting the technical processes of making are offered throughout the term. Frequent critiques, readings, artist lectures, and screenings consider how the history of time-based works informs a contemporary practice, by the development of critical awareness of both the moving image and the use of the body and technology. Shops and labs are available days and evenings throughout the week. Enrollment limited. Materials fee: $150. Sandra Burns

[ART 371a, Sound Art This cross-disciplinary course, a collaboration between the Department of Music and the School of Art, is aimed at students interested in both the theoretical underpinnings and practical production of sound art. Participants are asked to read texts, discuss issues in and around the subject of sound art, understand the basic history of sound art in relation to the history of music and art, create experimental sound works, and participate in critiques of sound work created during the course. Weekly readings and discussion as well as additional projects are required. Enrollment limited. Materials fee: $75. Not offered in 2014–2015]

ART 445a and 446b, Advanced Sculpture This course provides the opportunity for a program of self-directed work in sculpture. Group discussion of student projects, and readings, slides, and video that address current art practice, are core to this class. Regular individual and group critiques monitor the progress of each independent project. Enrollment limited to twelve. Open to graduate students. Materials fee: $75. Prerequisite: ART 345a or 346b or equivalent, or permission of the instructor. Martin Kersels and Michael Queenland [Sp]

Sculpture 630, Studio Seminar Limited to graduate sculpture students. Martin Kersels and faculty

Sculpture 645, Individual Criticism Limited to graduate sculpture students. Criticism of individual projects. Martin Kersels, Michelle Lopez, Michael Queenland [Sp], and faculty

[Sculpture 649b, Critical Issues Seminar This course is designed to engage issues important to making art through reading and discussion. The content of the readings is designated by the instructor and available at registration. Open to all M.F.A. students. Not offered in 2014–2015]

Sculpture 653b, Graduate Language Seminar A graduate seminar that examines both written and spoken language through a range of artist statements, art criticism/reviews, curatorial proposals, grants, and finally performance in the public and private sphere. Words and actions become alternate sculptural forms to manipulate and to verbally sketch one’s own conceptual ideas. Each week, students are given assignments on different genres of writing: the manifesto, the art review, the confessional, specific character studies, a curatorial proposal, a grant proposal, and others. Other performance exercises are implemented in order to expand language beyond its conventions and bring writing closer to how one manipulates art in a more experimental way. Michelle Lopez

Sculpture 661b, Experimental Studio An interdisciplinary studio seminar for students interested in expanding and challenging their artistic interests and engaging the world around them through individual and group activity, experimentation, and present experience. Central to this course are subjectivity, perception, time, and play, and their possible rearticulation into an aesthetic experience. Whether through performance, audiovisual recording, music, or object-making, various artistic practices are considered, as are practices that fall outside of the art-making realm, including scientific research and Eastern meditative practices. Visits to science research centers, trips within New Haven, group activities such as music improvisation, and student-led demonstrations, field trips, or presentations make up the bulk of the seminar. Over the course of the term, each student develops experiments that are related to his or her artistic concerns, one of which is presented to the class. A wide variety of related materials are read, screened, and discussed, including the practices of artists such as Lee Ufan, Bruce Nauman, and Trisha Donnelly among others. Michael Queenland

[Sculpture 663b, Performance as Object This course offers those participants interested in performance the opportunity to create and get feedback on performance works. Open-ended assignments are really prompts to engage the liberty or constraints of time, site, repetition, etc. Performances are prepared outside of class and performed during class time. Some historical works are viewed and discussed, but the majority of class time is spent on the presentation and critiques of the works created by the participants. Critiques focus on the ideas generated in the work and how those ideas are expressed in the performances. A medium that includes the physical presence of a living body opens up creative options that are not available through most other mediums. Enrollment limited. Not offered in 2014–2015]

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Yale College Art Major

Director of Undergraduate Studies: Lisa Kereszi

Yale College, the undergraduate division of Yale University, offers a Bachelor of Arts degree program with a major in art. Students may concentrate on a medium such as painting/printmaking, sculpture, graphic design, photography, or filmmaking. Suggested program guidelines and specific requirements for the various areas of concentration are available from the director of undergraduate studies and departmental faculty. Undergraduate applicants wishing to major in art at Yale must apply to Yale College directly. Please contact the Office of Undergraduate Admissions, PO Box 208234, 38 Hillhouse Avenue, New Haven CT 06520-8234, 203.432.9300 (www.yale.edu/admit).

Students in this major will develop an understanding of the visual arts through a studio-based curriculum, apply fundamentals of art across a variety of media and disciplines, relate the practice of making art to the fields of art history and theory, and gain a high level of mastery of at least one artistic discipline. Courses at the 100 level stress the fundamental aspects of visual formulation and articulation. Courses numbered 200 through 499 offer increasingly intensive study leading to greater specialization in one or more of the visual disciplines such as graphic design, painting/printmaking, photography, filmmaking, and sculpture/4D.

The prerequisites for acceptance into the major are a Sophomore Review, which is an evaluation of work from studio courses taken at Yale School of Art, and five terms of introductory (100-level) courses. Students must be enrolled in their fifth studio course by the time of the Sophomore Review. Visual Thinking (ART 111a or b) and Basic Drawing (ART 114a or b) are mandatory. In exceptional cases, arrangements for a special review during the junior year may be made with the director of undergraduate studies in art.

For graduation as an art major, a total of fourteen course credits in the major field is required. These fourteen course credits must include the following: (1) five prerequisite courses at the 100 level (including Visual Thinking and Basic Drawing); (2) four 200-level and above courses; (3) the Junior Major Seminar (ART 395a) and/or Critical Theory in the Studio (ART 301b); (4) the two-credit Senior Project (ART 495a and 496b); and (5) two courses in the History of Art, Film Studies, or other electives related to visual culture. Suggested program guidelines and specific requirements for the various areas of concentration are available from the director of undergraduate studies. A suggested program guideline is as follows:

  • Freshman year
  • Studio courses, two terms
  • Sophomore year
  • Studio courses, three terms
  • Art history, one term
  • Junior year
  • Studio courses, three terms including the Junior Major Seminar and/or Critical Theory
  • Art history, one term
  • Senior year
  • Studio courses, four terms including the yearlong Senior Project

Undergraduate studio courses open to students in Yale College
  • ART 002b, Paper
  • ART 004a, Words and Pictures
  • ART 005a, Interactive Concrete Poetry
  • ART 006a or b, Art of the Printed Word
  • ART 110a or b, Sculpture Basics
  • ART 111a or b, Visual Thinking
  • ART 114a or b, Basic Drawing
  • ART 116b, Color Practice
  • ART 120a, Object and Space
  • ART 121b, Structure and Construction of Form
  • ART 122a, Digital Forms in Time
  • ART 125a, Sculpture in Reproduction
  • ART 130a, Painting Basics
  • ART 132a or b, Introductory Graphic Design
  • ART 136a or b, Introductory Black-and-White Photography
  • ART 138a or b, Introductory Digital Photography
  • ART 141a, Introductory Film Writing and Directing
  • ART 142b, Introductory Documentary Filmmaking
  • ART 145a or b, Introduction to Digital Video
  • ART 185a, Principles of Animation
  • ART 202a, Feminist Theory and Feminist Art
  • ART 223a and 224b, Figure Drawing
  • ART 230a and 231b, Introductory Painting
  • ART 237a, Intermediate Black-and-White Photography
  • ART 264a, Typography I
  • ART 265b, Typography II
  • ART 285b, Digital Animation
  • ART 301b, Critical Theory in the Studio
  • ART 324b, Painting Materials and Methods
  • ART 331b, Intermediate Painting
  • ART 332a, Painting Time
  • ART 338a, Intermediate Digital Photography
  • ART 341a or b, Intermediate Film Writing and Directing
  • ART 342b, Intermediate Documentary Filmmaking
  • ART 345a and 346b, Dematerial/Material
  • ART 348b, Body, Space, and Time
  • ART 355b, Silkscreen Printing
  • ART 356a, Printmaking I
  • ART 368a, Intermediate Graphic Design
  • ART 369b, Interactive Design
  • ART 370a, Motion Design
  • ART 379b, Photographic Techniques
  • ART 395a, Junior Seminar
  • ART 401b, Advanced Photography
  • ART 430a and 431b, Advanced Painting Studio
  • ART 442a and 443b, Advanced Film Writing and Directing
  • ART 445a and 446b, Advanced Sculpture
  • ART 457b, Printmaking II
  • ART 468a and 469b, Advanced Graphic Design
  • ART 471a and 472b, Individual Projects
  • ART 495a and 496b, Senior Project

Permission of the instructor required in all art courses. A student may repeat an art course with the permission of the director of undergraduate studies.

Graduate courses may be elected by advanced undergraduate art majors who have completed all undergraduate courses in a particular area of study and who have permission of the director of undergraduate studies as well as the course instructor.

Undergraduates are normally limited to credit for four terms of graduate- or professional-level courses (courses numbered 500 and above). Please refer to the section on Academic Regulations in Yale College Programs of Study for further pertinent details.

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History of Art

The Department of the History of Art at the Jeffrey Loria Center for the History of Art, 190 York Street, is a department of the Division of Humanities of Yale College and the Graduate School of Arts and Sciences. It offers introductory, intermediate, and advanced courses to students who are interested in (a) entering a major field of study in Yale College, (b) preparing for professional, academic, or museum careers, or (c) supplementing studies in other fields. The department offers a major in Yale College and a program leading to the degree of Doctor of Philosophy in the Graduate School. For a detailed description of courses and requirements see the bulletin Yale College Programs of Study and the bulletin of the Graduate School, Programs and Policies.

The history of art is concerned with a union of visual and verbal experience. It tries to explore the character and meaning of human action through a perception of works of art visually analyzed and verbally expressed. It does not ignore textual and literary evidence or any of the other materials of history, but its special relevance to human knowledge and competence lies in its own construction of the written, the seen, and the spoken. It deals with the entire human-made environment and its relation to the natural world, and therefore has offered courses in the history of all the arts from architecture and urbanism to graphics and the movies.

Students of the history of art at Yale make extensive use of University collections, such as those of the Art Gallery, the Peabody Museum, the Yale Center for British Art, and the Beinecke Rare Book and Manuscript Library. The department profits from its relationship with the School of Art and the other professional schools and welcomes students from them.

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