Liberal Arts +
Art History Courses

Credits: 3

HUM101 is the first half of a year-long course which provides an historical foundation of art and the human endeavor, worldwide. Working chronologically, this course charts the rise, development, and fall of important art forms and issues from pre-history to the early modern period. It introduces students to the social, political, and historical contexts known to prompt human creativity, and provides students with a timeline of the historical development of style, methods, materials, and thought processes. Prerequisite: none.

Credits: 3

HUM102 is the second half of a year-long course which provides an historical foundation of art and the human endeavor, worldwide. Working chronologically, this course charts the rise, development, and fall of important art forms and issues from the early modern period to the present day. It introduces students to the social, political, and historical contexts known to prompt human creativity, and provides students with a timeline of the historical development of style methods, materials, and thought processes. Prerequisite: HUM101.

Credits: 3

Directed Research and Writing allows for specifically-designed intensive studies in the student’s area of interest. A student must be in good academic standing, have a mentor instructor who agrees to direct the study, and present to the mentor a proposed focus for the units earned; this then needs to be approved by both the instructor and chair. If approved, the instructor will craft the specifics re: materials, assignments, workload, and learning outcomes. Roughly 5 books read and 5000-7000 words written over the course of the semester. Some of the writing could take the form of journals and more informal reflections, however a formal academic written analysis of some kind must be part of the writing produced. Also, museum visits or personal tours of artifacts, et. al, may stand in lieu of some of the readings.

Credits: 3

An introductory course exploring the art and architecture of Mesoamerica from the rise of the Olmec in 1500 BCE to the Spanish conquest of the Aztec capital of Tenochtitlan in 1521, Mesoamerican Empires will focus on how changes in visual culture have reflected larger religious and political transformations in Mesoamerica. Issues of cultural memory and myth will be examined to understand indigenous conceptions of art, history, cosmology, and social hierarchy. Forging links with the present day, students will learn to identify and contextualize Mesoamerican iconography in contemporary media including the creative expression of lowrider culture, tattoos, fine art, and fashion. Students will be required to demonstrate their understanding of the material through visual (art) projects, a formal writing assignment, and their participation in class discussions. No prerequisites.

Credits: 3

This course is an introduction to the arts of Asia, focusing on India, China, Korea, and Japan. The course covers material from the neolithic period to the present, and the lectures are divided into four units: 1) Art in the Tomb; 2) Art in the Temple; 3) Art at Court and in the Life of the Elite; and 4) Art in the Marketplace. We examine how art was commissioned, collected, and used by royalty, the elite, popular audiences, and religious communities in various settings. Lectures within each unit are organized chronologically with minor modifications of geographic considerations. Students are required to complete weekly readings and to participate actively in class discussions. In addition, two short quizzes, one mid-term and one final exam in class will be given. Pre-requisite: None

Credits: 3

If consciousness is shaped by our history, then where are we, collectively, if we’ve lost faith that a shared historical commonality among cultures ever existed? To the people who thrived in the strange and beautiful empires of ancient Egypt, Greece, and Rome, religious and cultural differences found in one’s neighbors weren’t unusual, confusing or frightening—they were part of everyday life. In short: normal coexistence. In the class Egypt, Greece, Rome—we’ll explore the commonalities and shared experiences found among these three remarkable civilizations, as well as follow the cultural fault lines exploited by those in power which eventually forced these empires to dissolve. Together, we’ll explore three millennia of artefacts, objects, architecture, writings, as well as cultural and religious practice to see how these civilizations evolved, ran alongside one another, then overlapped and overcame one another to lay the foundations of modern western society. Through lecture, images, discussions, essays, and close readings, students will learn to identify, decode, understand and describe artworks and objects from the past, translating them from visual to verbal and textual language. In addition, in an effort to gain insight into the ancient state of mind, students will reconstruct a piece of history with a hands-on laboratory project and a small, original artwork of their own. No prerequisites.

Credits: 3

Rome, the Eternal City, is a city unlike any other. It is entrenched in history and undeniably beautiful, where Roman ruins serve as a backdrop for classically restrained Renaissance structures and dramatic Baroque spectacle. This course takes students through the incredible transformation the city has undergone from ancient times through the rise of Christianity, culminating with the tumultuous era and style of the 17th-century Baroque. Through these great epochs of Roman history, the city attracted some of the most revered artists including Raphael, Michelangelo, Gentileschi, Caravaggio, and Bernini. Students will leave this class with an in-depth understanding of the innovation of Roman architecture and engineering, what led to the decline of ancient Rome, and how the city transformed from a glorious capital of pagan culture to the prominent seat of the Catholic faith, home to over 900 churches. Requirements for this class include a museum visit, independent research, and the creation of an artwork related to the course content and historic techniques analyzed in this course.

Credits: 3

The Middle Ages were a time of knights and ladies… or maybe brutal Viking warlords… or a clash of civilizations between Christians and Muslims… and maybe there were dragons? A lot of what we “know” about the medieval world comes from fantasy, pop culture, and from old nationalist scholarship that mostly invented origin myths. So, how can we know what the Middle Ages were really like? In this class, we’ll go back and try to get a more accurate picture by looking at things medieval people made: manuscripts, sculptures, buildings, weapons, clothing, etc., all in tandem with reading primary sources by the people who were there. Starting with the collapse of the western Roman Empire, we will uncover a different picture of how two related cultures arose out of the wreckage of the ancient world: Christendom and Dar al-Islam. Along the way we’ll learn that the “barbarians” weren’t that barbaric, that some Vikings converted to Islam, that trade and cooperation across the Mediterranean were far more common than Crusades, and that the medieval world was more diverse, cosmopolitan, and queer than you may have been led to believe. No prerequisites.

Credits: 3

Nature in Art explores the rich and varied traditions of artistic expression unique to the regions of Japan, Korea, and Tibet, from prehistoric indigenous practices through the mid-19th century. Looking closely at Japan, the Korean renaissance, and the coded art of Tibetan Buddhist culture, we will uncover the distinct artistic heritage found in each, noting particularly the sharing and transmission of art practices and ideas as they cross geographical and cultural boundaries. Working chronologically, this course will identify intersections of spirituality and nature, then examine artistic expressions of such concepts through lacquer, ceramic, ink, paper, stone, bamboo and ivory, among other media. Both two- and three-dimensional art forms are considered, from calligraphy, wood-block prints and landscape painting to festivals, garden design, poetry, and tea ceremonies. The objects and sites studied in this course will reflect how concepts of beauty and aesthetics are achieved through the practice of “harmony, respect, purity, and tranquility.” The course is conducted as a hybrid seminar-lecture style course, with instructor led lectures and video, student presentations, research, writing, culinary experiences, as well as hands-on exploration of the traditional processes of historic art production in these regions. This class requires a visit to the USC Pacific Asia Museum to see art in person from each of the regions studied in this class. No prerequisites.

Credits: 3

People often wonder exactly when, throughout history, women first became active in society? Of course, the answer is: always. Even though women’s efforts have been overshadowed by that of their male contemporaries in the chronicling of official histories, women have always participated in every facet of life, from rich to poor, north to south, east to west, and from the ancient period to the present. In this course, we will examine the lives and creative pursuits of the many women who contributed to the arts, sciences, and humanities throughout history, particularly focusing on artists & craftspersons, writers & poets, healers, pharmacists, natural philosophers, and rulers, with a few warriors included for good measure. Students will conduct close readings, originate research, formulate short essays, and in an effort to gain insight into the state of mind of historical women, reconstruct a piece of history with a hands-on laboratory project and a small, original artwork placing themselves in the environment of a chosen historical female.

Credits: 3

“Force yourself to imitate Michelangelo in everything.” These were the words expressed by Michelangelo’s biographer to a remarkably self-aware generation of artists in 16th-century Florence, Rome, and Venice. However, whether rival artists wanted to, or even imagined they could succeed in imitating Michelangelo’s work is another question—one among many we’ll explore in The Age of Michelangelo, 1450-1650. In consultation with a range of visual, historical, and literary materials, we’ll delve into the spirit of the age, looking at drawing, painting, sculpture, furniture and garden design, food, weaponry, architecture, and urban planning, as well as people. We’ll tap into the players and personalities of the times—Leonardo, Giorgione, Raphael, Sofonisba Anguissola, Titian—as well as Isabella d’Este, the Della Rovere, and the Medici families who sought to shape their immediate world through power, imagination, and the artistry of their times. Students will conduct close readings, originate research, formulate essays, and in an effort to gain insight into the Renaissance state of mind reconstruct a piece of history with a hands-on laboratory project and a small, original artwork of their own. Prerequisite: AH210, or one course from Ancient Civilizations category. This course can be taken concurrently with Medieval Worlds in Motion category.

Credits: 3

As author Giuseppe Mazzotta reminds us, “Imagination is the weapon of the poet.” It’s an old idea, and, wielded properly, the imagination can nudge us from where we are in the present, ferry us back to the past, and transport us into the future. But imagination has its faults according to Dante Alighieri (1265-1321), exiled poet of the late Middle Ages. Imagination or visionariness (the ability or likeliness to see visions) as Dante found out, confounds us when we attempt to describe visions with words. Vision exceeds language and the power of description. In the Divine Comedy, Dante laments how speech is unable to contain the plenitude of what he envisions; that not everything can be elucidated with language. In this sense, the Comedy is a way of thinking about the relationship between vision and language, and equally important, the cultural traction inherent in images. People had deep imaginations in Medieval culture, and artists and illustrators were there to bring those visions to life. Upon examination of the nightmares populating the poem’s Inferno—the fallen Lucifer, serpent-covered Furies, loathsome Harpies, deceitful Geryon, as well as classical figures from the Purgatorio and the crystalline beings populating the Paradiso, all made famous by Botticelli, Bosch, Blake, Doré, and Sandow Birk, among others—we’ll consider the ethics of Medieval Italian culture symbolized by such vivid imagery, but we’ll also prepare ourselves for what the poem is really about: a love so perfect it moves the sun and stars. We’ll also ask what we think Dante was doing in the writing of it. Did he write a romance? An epic tale? Autobiography? A novel? Novel, as in new, marvelous, strange, unexpected? The answer is Yes. The Divine Comedy is all these things, including a remarkably styled circle of knowledge, or an “encyclopedia” in the old sense—knowledge gathering that begins with a point of departure, then takes us along the road of learning to finally return to its original starting point—a point now seen from a different perspective, with a new understanding. In short, Dante uses all the tools of the Liberal Arts to come to know the world around him and to construct a poem of hope, peace, exile, and a story of desire as a witnessing to his imagination, his visions, and to his understanding of love. Prerequisites: None. 3 units.

Credits: 3

For centuries, earthly creatures, charmed animals and otherworldly beings conjured by artisans, magicians, folklorists, natural philosophers, and physicians, have inspired both wonder and delight as well as revulsion, alarm, and terror in the hearts and minds of otherwise thinking persons. Considering beasts and beings of all sorts, both earthly and divine, this course seeks to investigate the origin stories of such creatures and inquire as to what motivations compel an individual or society to conjure such creatures. From the Classical World to Medieval Scandinavia, from the Americas to Slavic Europe, this course explores how art and monstrosity intersected in the cultural imagination to both delightful and devastating effect. In consultation with a range of visual and literary primary materials, including the Great Chain of Being, the Malleus Maleficarum (the Witches Hammer), and Della Porta’s How We May Produce New and Strange Monsters, students will conduct close readings, originate research, formulate essays and create original artwork of their own in an effort to gain insight into earlier states of mind as well as open avenues into wholly new creations. All readings for the course will be in English, although international and graduate students may be asked to give additional reports on texts written in other languages.

Credits: 3

What happens when we are forcibly removed from the safety of our home, our family, our community, profession, church, or perhaps even removed from what we thought was the safety of our ideas or beliefs? Dismaying as this sounds, for the Renaissance thinker, exile was a source of profound alarm, particularly since there were few ways to restore one’s previous life or reputation after the fact. “Exile” is a concept we’re not often confronted with today, but during the Early Modern period this type of action was frighteningly common. One way to survive the state of exile was to mine the recesses of the imagination—a method which propelled some of the greatest thinkers in the western tradition to leave the quotidian behind and discover new stories, new theories, new inventions, and new planets. From the diverse region of Tuscany, four remarkable artists and thinkers emerged—Dante, Leonardo, Artemisia, and Galileo—who made their most important cultural contributions while living in states of profound displacement. From roughly 1300 to 1700, the lives of these Italians found commonalities against the backdrop of the city of Florence, made relevant, splendid, and dangerous by the rising Medici family. As thinkers in exile, students will study and live in this environment. We’ll visit major sites and museums that bring our lectures to life, plus make day excursions to Pisa, Siena, San Miniato al Monte, and Pistoia. We’ll complete projects in fresco and traditional Italian cooking, plus sketch live animals on site. Pre-requisite: Interview meeting. Art History or Liberal Arts credit.

Credits: 3

This course addresses developments in art from the mid-nineteenth century to the present. Although the course focuses on the western scene, issues of contemporary global art are also discussed. Museum and gallery visits are required.

Credits: 3

Largely obscured from the history of “feminist” art, Latin American artists such as Ana Mendieta, Yolanda Andrade, Sylvia Palacios Whitman, Marisol, and Marie Orensanz, among many others, were crucial to the development of contemporary art in the twentieth century. Active in Latin America and the United States during a key period in this dual-continental history, many of these artists may not have considered themselves feminists per se, but their work can be interpreted in relation to feminist art theory. This course examines selected issues,movements, and artists of global importance from the 1960s to the mid-1980s. We will explore ways in which themes such as repression parallel those of liberation and how women, whose experiences were shaped by violence, censorship, and exile, developed an aesthetic that addressed body politics, marginalization, and repressive regimes. What can we learn from women whose legacies continue to be relevant today? Through text, video, and images exploring these histories, students will produce written responses and formulate a final research project based on one of the organizing themes of this class.

Credits: 3

Los Tres Grandes explores the Mexican Muralist movement of the 1920s from its beginnings under the post-Mexican Revolution government to its present-day influence on Chicanx and Street artists. Utilizing a curricular framework centered on Los Tres Grandes (the big three), Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros, our studies will then expand to include further influential figures such as Frida Kahlo and Rufino Tamayo among others. Students will be required to demonstrate their understanding of the material through visual (art) projects, a formal writing assignment, and participation in class discussions. Prerequisite: One course from Ancient Civilizations category and one course from either Medieval Worlds or Renaissance/Early Modern category.

Credits: 3

This course examines a diverse array of art created by different ethnic groups in West Africa from pre-colonial through the 19th century and beyond. Through the lens of both spiritual and cultural traditions, we will consider a wide range of styles and materials, and ask how meaning is derived from objects and practices, keeping in mind particular challenges that emerge when studying art that is both permanent and impermanent. The significance of oral traditions will be studied, as well as the roles of ancestor spirits, mythical creatures, divination and initiation rites, and how music, dance, and masking function in establishing power, status, political, and social conventions. Objects created exclusively for performative and ritual uses, art in service to royalty, sculpture, utilitarian objects, architecture, performance, and the body as subject and site of adornment will form the core of our studies. Materials studied will include metal, wood, textiles, mud, ivory, beads, bone, dung, and blood/bodily fluids. While important, this class does not intend to cover present-day political crises, border disputes, or changing social constructs in West Africa. This course is conducted with instructor led lecture, film, guided reading and discussions, student presentations based on independent research, and other exploratory exercises. A visit to the UCLA Fowler Museum is required for this class. Students will experience textile creation and the development of personal symbolism in a hands-on project. Prerequisite: One course from Ancient Civilizations category and one course from either Medieval Worlds or Renaissance/Early Modern category.

Credits: 3

This course will examine the relationship between visuality and technology as expressed by photographers of the 19th- and 20th-centuries. Materials and readings for the course will focus on the roles and development of photography primarily in India, Afghanistan, China, and Japan, and the alterations it engendered in the perception and depiction of the world. We will examine the use of photography in the service of journalism and news reporting, ethnographic studies and geographical awareness, science, propaganda, tourism, entertainment, and of course, art. Beginning with Western photographers’ images of a distant “Orient,” this course will conclude with the uses of photography in contemporary Asian art, looking particularly at themes of national and personal identities as well as commentary on traditions. Students are required to do class readings and engage actively in class discussion, complete two papers, submit one individual project related to the course apparatus, and make a final presentation. Projects deriving from other time periods or regions are welcome, for example, photography from Imperial Russia or the Ottoman Empire. Prerequisite: One course from Ancient Civilizations category and one course from either Medieval Worlds or Renaissance/Early Modern category.

Credits: 3

Los Angeles, not known for being a bastion of either culture or liberalism during the early twentieth century, was—for a time—both a cradle of high-modernism and a refuge from the charnel house of European fascism. Icons such as poet and playwright Bertolt Brecht, Marxist philosopher Theodor Adorno, noir filmmakers Fritz Lang and Billy Wilder, composers Arnold Schoenberg and Igor Stravinski, novelists Thomas Mann and Aldous Huxley, and architects Richard Neutra and Rudolph Schindler, many of whom had fled the Nazis, made their homes in Los Angeles. In this course, we will examine the lives and major works of the many refugees and exiles who transformed LA’s intellectual and aesthetic culture in the 1940s, as well as look closely at three critical aspects of their enduring legacy. First, the transnational exchange of aesthetic and intellectual history between Europe and the United States; Second, the effects of fascism on aesthetics and its implications; and Third, the degree to which the creative output of European émigrés provided survival strategies in the wake of such genocidal and illiberal ideologies. What, in other words, can we glean from Brecht’s poetry, from Adorno’s “reflections from damaged life,” from Fritz Lang’s deeply expressionistic noir films, from Huxley’s Brave New World? Through the consumption of text and images representing this history students will create a project utilizing this aesthetic and intellectual history of art (and artists) as a means of strategizing survival in today’s climate. Prerequisite: One course from Ancient Civilizations category and one course from either Medieval Worlds or Renaissance/Early Modern category.

Credits: 3

Since 1954 when the Supreme Court handed down its decision in Brown v. Board of Education, the people of the United States have been engaged in a series of “culture wars” concerned primarily with identity—particularly race and gender—and a grappling with its morally ambiguous past. This deep and alienating sense of polarization and clashing of identities—some voluntary and others forced upon us—has only intensified over the years, coming to an explosive climax in the chaotic and tragic years of 2020-21. Everything from the anti-mask movement and “cancel culture” to the fate of Confederate Statues and defunding the police falls under the rubric of a longstanding, and increasingly tribal culture war in the United States. In this course we will look at the broad historical context of the 1960s from which these battles emerged and trace them through the present. In doing so, we will pay close attention to the ways in which the expansion of rights, freedoms, and liberties for historically marginalized groups has elicited conservative reactions seeking to roll back those gains through an often sectarian vision of American culture and history. This course will focus on flashpoints or sites of contestation—Roe v. Wade, the Oklahoma City Bombing, the rise of “Alt-Right” groups such as the Proud Boys, recent controversies about “Big Tech” censorship, the fate of civil rights, Black Lives Matter protests, and the violent denouement of the Trump Administration. Students will produce written responses to the readings and also formulate a final project determining the role of art and the artist in meeting this particular historical moment. Prerequisite: One course from Ancient Civilizations category and one course from either Medieval Worlds or Renaissance/Early Modern category.

Credits: 3

This course will introduce students to current theoretical and real-world applications of exhibition design operating today in museums, galleries, and contemporary art spaces, both real and virtual. Through weekly in-person exploration of cultural sites in and around Orange County and Los Angeles, students will observe and critique aesthetic and practical decisions made by professional curators and exhibition designers, with particular emphases on structural layout, cultural themes, the curation and arrangement of objects, and how artworks interact with one another in outdoor and indoor spaces. In doing so, students will sharpen their perceptive skills, strengthen their discourse specific to the fields of art production, curation, collecting, and museum studies, and pursue theoretical examples of design brought to life within the rich artistic landscape of Southern California. Students produce written journal entries, participate in discussions, produce directed reading responses to museum catalogues, articles, and other didactic material, as well as participate in oral presentations and collaborative hands-on projects. Prerequisite: One course from Ancient Civilizations category and one course from either Medieval Worlds or Renaissance/Early Modern category.

Credits: 3

Set primarily in Paris, this course traces the development and public reception of modern art in Europe from the mid-19th century through the early years of the 20th century. The main focus of this course is the Post-Impressionists, artists working in diverse styles during the years 1880-1900. In order to better understand the radical approaches to art undertaken by these artists, the course will include a brief investigation of the cultural, political, and artistic trends which led up to the period known as Post-Impressionism. Thus, students will gain familiarity with the major art movements of the 18th and 19th centuries: Neoclassicism, Romanticism, Realism, and Impressionism. This course will be framed by the theories of “bohemian” poet Charles Baudelaire, whose close friendship with many artists helped shaped the trajectory of modern art. Encircled by other likeminded writers, these artists spurred the creative process and championed one another. Van Gogh, Toulouse-Lautrec, Munch, Mucha, and Klimt are among the artists examined in this class. Through close analysis of the artists’ own words, students will explore the psyche of the modern artist as they sought to create an expressive art imbued with feeling, originality, and innovation. This course requires a museum visit, independent research, analysis of primary sources (artist letters and essays), and the creation of an artwork related to course content.

Credits: 3

Nostalgia is notoriously amorphous. Is it conservative or liberal. Is it political. Or does it align more with culture and aesthetics. Is it a psychological phenomenon that is confined to the plane of the individual. Or is it collective. Is it an industry unto itself, responsible for a relentless stream of remakes and reboots that appear on Netflix and in theaters or is it that which animates very real and vivid memories that can never truly be recovered. In truth, it is all these things and more. Nostalgia blurs the boundaries between politics and aesthetics, between the realm of individual reflection and collective calls for restoration. Discovered by a Swiss doctor in the seventeenth century, nostalgia was at first a literal disease (akin to homesickness) that afflicted soldiers and servants made to serve far from home. The concept migrated, first geographically and then metaphorically, but it has always maintained a deeply sensual component. This course is designed in such a way that we will trace the “career” of nostalgia through three key realms—Politics, Culture, and Nature—in order to demystify and typologize nostalgia so that we may differentiate between the reflectivity of “modernist nostalgia” and the commodified pastiche of retro that the culture industry offers as a pallid substitute for the past. In the end, it is important that we become familiar with how nostalgia works on us and how we, as artists, thinkers, and creatives use nostalgia as a conceptual framework for seeing, analyzing, and representing the past as more than just kitsch, or a cramped politics of looking back toward a “simpler” past, or the myth of an Edenic and untouched natural environment. In this course we will read across disciplines, authors such as Svetlana Boym, Frederic Jameson, Walter Benjamin, Susan Stewart, and William Cronon. These readings, by and large, will provide the bulk of our intellectual understanding while we will take time in class to discuss the contemporary contours of nostalgia. Students will produce written responses to the readings and also formulate a final essay that will, instead of just summarizing the reading and discussions, ponder the future of nostalgia. Prerequisite: One course from Ancient Civilizations category and one course from either Medieval Worlds or Renaissance/Early Modern category.

Credits: 3

From the birth of photography to stop motion to film, this course explores the history of cinematic technology and its intersection with the art movements and cultural shifts of the late-19th to early-20th centuries. Pioneers of Light and Form: Art Nouveau and the Birth of Film introduces the dynamic movements of Expressionism and Art Nouveau alongside the pioneering era of film to discover how advances in technology and the shock of world events shaped emerging artistic and aesthetic values. Through the examination of photography, film, artwork, fashion, architecture, and home goods, students will gain an understanding of the roles art and cinema played within the burgeoning modern lifestyle of the late 1800s through the Roaring Twenties.

Credits: 3

This course considers the history of art produced in the Americas from the mid-1940s to the present, with special emphasis on the artistic contributions of Afro-Latinx, Indigenous, and women artists. Over the course of this semester, we will explore a variety of media including sculpture, photography, installation, architecture, performance, textile, painting, film, graphic and mural art created in Mexico, Venezuela, Peru, Brazil, Argentina, Cuba and Chile, among other countries. This course will interrogate the idea of “center and periphery” and reevaluate the concept of “Latin American Art” through readings, in-class discussions, museum/gallery visits, and the analyses of selected art forms and artists such as Alfredo Jaar’s billboard A Logo for America installed in Times Square in New York in 1984; Doris Salcedo’s 2003 Untitled public installation consisting of 1,500 chairs stacked between two buildings in Istanbul; and Sandra Monterroso’s video artwork Coloring the strands/Bleaching the strands produced in 2011, among many others. Some of the themes that will be discussed in this course include gender, sexuality, nationality and identity, modernity and coloniality, and political activism.

Credits: 3

Since 1954 when the Supreme Court handed down its decision in Brown v. Board of Education, which sought to desegregate American schools, the people of the United States have been engaged in what some have come to call the “culture wars” in which even the most intimate things have become subject to politicization: sex, marriage, language, education, spiritual life, housing patterns, gun ownership, art, music, movies, literature, media, sports, access to bathrooms. Everything from abortion and bussing in schools to Gamergate and Drag Queen Story Hour falls under the rubric of a longstanding, and increasingly tribal culture war in the United States. In this course we will look at the broad historical context – segregation, Cold War, Vietnam, the Summer of Love – from which these battles emerged and trace them through the present, paying particularly close attention to the ways in which the legal expansion of rights, freedoms, and liberties for historically marginalized groups often elicited conservative reactions seeking to roll back those gains. Through open discussion, the politicization and policing of everything as a means of reasserting a traditionalist, and often sectarian, vision of culture on an increasingly liberal (and liberated) secular society will be examined. This course will focus on flashpoints or sites of contestation—Roe v. Wade, the reaction to the artist Andres Serrano’s Piss Christ (1987), the Oklahoma City Bombing, the North Carolina “Bathroom Bill” and many others – via contemporaneous media coverage and analysis. Students will produce written responses to the readings and also formulate a final project (with a written component) urgent to the awareness of policing and politicization of contemporary culture. (Satisfies Social Science)

Credits: 3

The unique opportunity to learn other cultures through lived experience is something you’ll remember all your life. This 3-unit course abroad is an intensive faculty-led summer program where through the study of literature, the visual arts, architecture, garden, and urban design, you’ll gain cross-cultural perspectives, develop language abilities, and marvel at how the Humanities come alive when experienced first-hand, outside the classroom. Combining novels, memoirs, poetry, the history of art & design, and plein-air practice & techniques, this program now in its fourth decade, has led students to France, Italy, Belgium, Netherlands, Greece, Spain, Portugal, Germany, Austria, and the Czech Republic to study and experience world-class cities, monuments, and museums, intimate towns and artist ateliers, as well as restorative natural seascapes and gardens. The program typically runs three weeks following Spring semester. (Satisfies Non-Western Cultural Experience OR Liberal Arts Elective OR Language Arts OR Literature)

Credits: 3

A global, historical survey of the development of architecture from prehistory to the current day, this course considers the important sites, structures, and monuments of civilization. Technology, geography, socio-economic limitations, religious sensibilities, and ecological concerns among other factors will be considered as influences on the function, aesthetics, and design of architecture worldwide. Pedagogical methods include slide lectures, exams, essays, visual analyses, hands-on projects, and field trips.

Credits: 3

This course includes consideration of such questions as: What is Art? What is Beauty? What is the role and responsibility of artists in society? Are there genuine standards by which we can judge art? Students have the opportunity to participate in dialogues concerning these questions.

Credits: 3

The Senior Capstone experience is designed to foster intellectual, conceptual, and artistic self-reflection by the graduating senior as they contemplate, articulate and expound on the meaning, value, and purpose of their Senior Portfolio Project. There are two major components to the class: the writing of a major essay (with drafts and related assignments) comprising a detailed, in-depth, analytical explication of the student’s Senior Portfolio Project or Thesis Film focusing on the student’s creative intent and processes involved, followed by a formal oral defense of the same. The student must receive a passing grade on both the essay and the oral defense in order to pass the class and graduate. Senior Capstone must be taken concurrently with the student’s final Portfolio/Thesis class so that the work being done in one class simultaneously informs the work being done in the other. This class is graded pass/no pass. A passing grade in Senior Capstone is required in order to graduate with a degree. Senior Capstone may not be taken as Independent Study. (satisfies Senior Capstone requirement)

Credits: 3

This course offers 1–3 units of intensive, student-driven study in Liberal Arts. It is not an independent study version of an existing course but follows a graduate-style model, allowing students to pursue specialized research with faculty mentorship. Students must be in good academic standing, secure an instructor’s approval, and propose a study focus. If approved, the instructor tailors assignments, workload, and learning outcomes. A three-unit course typically includes five books and 5,000–7,000 words of writing, blending formal analysis with reflective work.

Credits: 3

The primary goal of this course is to provide practice in the basics of poetry writing, with a simultaneous exploration of poetry’s various theories and techniques. Students will be introduced to a variety of literary styles and devices via assigned readings by accomplished authors, with guided in-class discussions and group analyses of the craft

Credits: 3

Mark Twain, whose tongue perpetually pushed into his cheek, asked the following: “Why shouldn’t truth be stranger than fiction? Fiction, after all, has to make sense.” This class is about making sense of the process of making sense. By analyzing and implementing the tools of fiction — plot, character, tone, symbol, point of view, setting, theme — this class provides students insight on how storytellers order the chaos to engender meaning. Students will be introduced to a variety of literary styles and devices via assigned readings by accomplished authors, with guided discussions and group analyses of the craft at work in each piece (aspects such as structure, conflict, plot, character, point of view, setting, dialogue, voice, tone, narrative form). Students will be required to complete a variety of writing assignments and similarly take part in close critiques of each other’s new writing, providing textual analysis from both aesthetic and technical standpoints, articulating both emotional and intellectual responses to the works.

Credits: 3

The primary goal of this course is to provide practice in the basics of script writing, with a simultaneous exploration of various theories and techniques related to creating scripted stories and storytelling techniques. Students will become familiar with common terminologies and structures: beat sheets, treatments, outlines, pitches, One Act, 3-act, 4-act, Teleplays, Screenplays, Documentaries, Multimedia, Graphic Novels, etc. Students will be introduced to a variety of styles and devices via assigned readings by accomplished authors, with guided in-class discussions and group analyses of the craft at work in each piece (aspects such as structure, conflict, plot, character, point of view, setting, dialogue, voice, tone, narrative form). Students will be required to complete a variety of writing assignments and similarly take part in close critiques of each other’s new writing, both in class and via written feedback composed away from class, providing textual analysis from both aesthetic and technical standpoints, articulating both emotional and intellectual responses to the works. Accomplished guest authors will visit the class to provide additional mentoring and inspiration. Excursions to public readings will augment classroom instruction. Class work may culminate in a formal publication and/or public performances (e.g., as part of LCAD’s Literary Companions Reading Series). By the end of the semester students will have broadened their understanding of the genre from a writer’s perspective, improved their mechanics in regards to craft, and perhaps even taken several giant steps closer to discovering their own unique voices and visions as authors. Similar to how the College Preparatory Writing classes are structured (and how other courses accommodate both undergraduate and graduate students in the same class), LCAD’s Creative Writing Workshops will be able to simultaneously accommodate students taking the course as an Introductory Workshop (at the 100 level, practicing the basic craft essentials) and those in the more Advanced levels (200, 300, 400, working on more complex aspects of technique and voice, longer pieces, or a collection of works). While all levels will benefit from group feedback and critiques, individual assignments will be appropriate to the enrolment level.

Credits: 3

Both a survey course and a creative writing course, the focus is on the art and craft of how stories are told across artistic genres. Storytelling is employed in various ways within each of our studio majors: literary devices and narrative techniques can add richness and depth to artwork, regardless of genre. By learning about comparative storytelling across cultures, and by practicing some of these techniques via original writing assignments, students gain a deeper understanding of how the human story can be effectively told.

Credits: 3

Directed Research and Writing (Course numbers LA103, 203, 303 & 403 for Liberal Arts and AH103, 203, 303, and 403 for Art History) will be able to be taken 1-3 units at a time, depending on the student’s needs. These courses are not designed to teach an existing LA or AH course on an independent study basis. Rather, they will be similar to the graduate-level model, where we allow for specifically designed intensive studies in the student’s desired areas of interest. A student must be in good academic standing, have a mentor instructor who agrees to direct the study, and present to the mentor a proposed focus for the units earned; this then need then needs to be approved by both the instructor and chair. If approved, the instructor will craft the specifics re: assignments, workload, and learning outcomes for that semester’s study. Three units of credit would require roughly 5 books read and 5000-7000 words written over the course of the semester. Some of the writing could take the form of journals and more informal reflections, however a formal academic written analysis of some kind must be part of the writing produced. Also, museum visits or personal tours of artifacts, et. al, may stand in lieu of some of the readings. We would let the instructor determine the balance, depending on the materials and areas of study; each case would be unique. A student would be able to earn all units toward a minor via this “Directed Research and Writing” coursework (AH103 for the first 3 units, AH203 for the next 3, and so on); existing courses could also apply to the minor in any combination to reach the 12-unit total.

Credits: 3

In The Empathy Exams, Leslie Jamison writes, “Empathy isn’t just listening, it’s asking the questions whose answers need to be listened to. Empathy requires inquiry as much as imagination. Empathy requires knowing you know nothing. Empathy means acknowledging a horizon of context that extends perpetually beyond what you can see.” The best kind of nonfiction is an act of empathy—for both the writer and the reader. By examining all the tools of nonfiction storytelling—character, voice, scene, structure—this course aims to unravel these empathic concerns.

Credits: 3

Mark Twain, whose tongue perpetually pushed into his cheek, asked the following: “Why shouldn’t truth be stranger than fiction? Fiction, after all, has to make sense.” This class is about making sense of the process of making sense. By analyzing and implementing the tools of fiction — plot, character, tone, symbol, point of view, setting, theme — this class provides students insight on how storytellers order the chaos to engender meaning.

Credits: 3

Stories shape how we see the world, but how they’re told changes across mediums and cultures. This course explores storytelling through both analysis and creation, examining how narrative techniques—character, structure, voice, and perspective—function across artistic genres. Whether through fiction, film, visual art, or performance, storytelling is a fundamental tool for expression. Students will study a range of narrative traditions and experiment with their own writing to gaining an understanding of how stories resonate across time, place, and form.

Credits: 3

So you have an idea that you believe is worth sharing with the world. How do you convince others to buy in, collaborate, produce, or publish your project? In this course, we explore the art of pitching through a combination of lectures, discussions, and workshop exercises. By breaking down the essential elements of a successful pitch and learning to create compelling pitch materials—query letters, pitch decks, one sheets, and more—students will develop the requisite sales and persuasive skills to be “good in the room.” With all walks of creatives in mind, this course equips students the tools and knowledge to take creative projects to the next level.

Credits: 3

This course is the first leg of a full-year writing requirement and focuses on exploratory writing and methods of rhetoric. The goal is to provide the groundwork for the more sophisticated writing and thinking that is required later in their academic careers, as well as to help students reach a level of expository prose writing deemed appropriate for the university level. Classes are conducted in a workshop setting where students explore issues of craft as it relates to the process of writing.

Credits: 3

“In the end, we’ll all become stories,” says Margaret Atwood. As such, it is essential that we understand the power of narrative and how to craft our own stories. This course explores various forms of narrative, including prose, oral traditions, scripts, and verse. Through close readings of exemplary works and hands-on writing exercises, students will gain an understanding of how to craft engaging narratives that capture the human experience in a variety of contexts. Topics covered will include narrative structure, theme and/or main idea, point of view, voice, and an exploration of how these elements are synthesized to maximize emotional, intellectual, and creative impact. (Satisfies English Comp)Pre-requisites: English Diagnostic

Credits: 3

This course prepares students for the writing, reading, and analysis required in their undergraduate education by learning various methods of argumentation, logic, and inquiry. Students practice their reasoning skills in writing assignments and discussions that demand analysis via critical reasoning. Assigned readings focus on basic philosophical questions and issues facing thinkers in all academic disciplines. This course helps students discover that writing is a natural, creative, and meaningful activity that helps them learn about themselves and the world. Students also learn the importance of questioning and critiquing the words and ideas of others. Ultimately, students experience first-hand how critical reasoning enables them to become informed and educated citizens of the world, with the abilities to affect change via their own words and actions. Successful completion of this course is a prerequisite for all Liberal Arts & Art History courses.

Credits: 3

According to Luis Buñuel, “Mystery is the essential element in all works of art.” Mystery, then, is the thing that makes us ask questions, look closer, think in different ways, and consider other possibilities—a great resource for developing logic, reason, creative thinking, and empathy. This course will use mystery writing — both fiction and nonfiction – to explore the nuances of logic, rhetoric, and critical thinking. Through close readings of exemplary works, as well as hands-on writing exercises, students will learn how to identify, analyze, and evaluate arguments and evidence. The course will wrestle with the precision of language, alternative perspectives, fallacious reasoning, and logos, ethos, and pathos in analysis and narrative. Students will apply both inductive and deductive modes of reasoning to solve mysteries and craft their own compelling narratives. (Satisfies Critical Reasoning)

Credits: 3

A survey of American cinema, this course examines film—its filmmakers, time periods, themes, and genres—as a touchstone for understanding the greater culture of American time and place, including the social conditions from which the art emerged and why it was important.

Credits: 3

Dystopian novels are powerful and imaginative works that highlight a future we do not want to see. But they are more than just sci-fi. By exaggerating and distorting the logic of our present system, authors make strong political statements about the times we live in. This course will explore some of the pillars of dystopian literature and focus a critical eye on modern connections.

Credits: 3

This course considers the history of the comic medium and its place in American culture, not only as an aspect of pop culture, but as a struggling art form unique to this country. Strongly recommended for Illustration majors.

Credits: 3

This is a survey course of the Literature of the United States, and may focus on a specific author (or group of authors), time period, theme, or culture.

Credits: 3

This course explores the zombie as a literary, historical, and pop culture archetype, focusing on the role of the zombie in horror, adventure, fantasy, and satiric literature and film. Spanning Antiquity to the present, this course surveys literature, cinema, and critical theory to examine the earliest precedents of the undead in the Ancient and Classical world, the origins of zombies in West Africa and the Caribbean, their adoption in Western culture, and their subsequent proliferation in Latin America, Asia, and (back to) Africa. Zombies provide an ideal means through which to examine cultures and issues of xenophobia, globalization, capitalism, and individuality. It is a symbol that has crossed many borders, reaching truly global status in the last twenty years. Weekly assignments will require written reflection and analysis.

Credits: 3

From memoirs to fantasy and superheroes, graphic literature has come a long way in recent decades. This survey course takes a look at graphic literature and what it means to communicate story in visual images.

Credits: 3

This is an analytical approach to Literature found across the globe. The coursework will include readings, discussions, reactions, and essays, all focused-on writers who have helped to mold the contemporary works of World Literature. Readings will include novels and short stories.

Credits: 3

Myths are the dreams of the people. And familiar faces and patterns — that is to say, archetypes — run rampant in these myths. To be familiar with myths and archetypes is to understand the foundations of what makes humans human. Through readings, lectures, discussions, and writing exercises, students will learn to recognize and analyze archetypal motifs that appear across cultures and time periods and understand their significance in shaping human thought and behavior. By exploring the power of myths to connect us with our past and illuminate the present, students will gain insights into the complexities of the human experience, and develop a deeper appreciation for the foundational stories that stir our emotions and inspire our actions.

Credits: 3

The challenge for the animator is to create the illusion of life in animated images. This course involves the animator in theoretical considerations of performance, analyses of animated films, and studio experiences aimed at realizing the animator’s goal of creating the illusion of life in animated images. (Required for All Animation and Experimental Animation Students. Satisfies Language Arts. Required for all Animation and Experimental Animation students)

Credits: 3

Storytelling is the essence of life. It deeply influences every aspect of our existence, especially for those tasked with captivating us through film, tv, games, and animation. Storytelling is more than mere entertainment; storytelling is a vital part of being human, shaping our understanding of the world and our place in it. “Story Structure, Screenwriting and Visuals for Artists” is a course born from the collaborative efforts of the Experimental Animation and Liberal Arts departments. Developed in response to the evolving needs of visual artists, animators, and student requests, this course is timely in today’s media-rich landscape. The ability to craft compelling stories that complement visual content is increasingly vital. The lessons in this course will enrich the artist’s toolbox, providing methods to ensure their visual communication aligns with the linked narrative outlines and screenplays. It aims to enhance the creative tool set of visual artists by introducing them to diverse story structure tools, written character development, and the essential techniques and nuances of creating and refining screenplays for animated series, short films, and multi-act screenplays. Students will engage in exercises to craft emotional and impactful outlines, beat sheets and stories drawn from their own lives and the real and imagined worlds inspiring them. Overall, students will work to harmonize their written and visual storytelling skills, ensuring their visual creations resonate with their intended messages and emotions desired by contemporary audiences. By bridging the gap between visual and written storytelling, we strive to empower artists to express their intended messages with enhanced clarity and impact, ensuring character development, narrative payoff, and a deeper exploration of what it means to be human.”

Credits: 3

This course reviews basic concepts and processes in arithmetic as well as key concepts and questions in geometry. The course explores questions in the philosophy of mathematics regarding the nature of numbers, space, infinity, and truth, as well as topics of concern to artists such as proportion, the Golden Mean, and the mathematics of light.

Credits: 3

Economics, mathematics, and sociology combine to form the study of financial literacy. Knowing how to handle money, investments, retirement, and much more are covered in this course. Though money offers a shifting ground, this course should give you the ability to adapt to changing conditions. (Satisfies Quantitative Reasoning or Liberal Arts Elective)

Credits: 3

In the rapidly evolving world of creative industries, mastering the art of business and budgeting is crucial. This course is designed to bridge the gap between creative passion and business acumen. Through a blend of theoretical understanding and practical application, students will learn to navigate the financial aspects of their creative endeavors, from budgeting for projects to understanding the economics of the creative industry. This course empowers creatives with the knowledge to make sound business decisions, manage resources effectively, and sustain their artistic ventures in a competitive market.(Satisfies Quantitative Reasoning or Liberal Arts Elective)

Credits: 3

This course explores the interconnected web of scientific disciplines that shape our understanding of the natural world, from the vast expanse of the cosmos to the intricate workings of the human mind. Students will engage with foundational principles of physics, biology, information science, and the human sciences, examining how these fields intersect to inform our grasp of the universe and ourselves. Through discussions on topics like cosmology, quantum theory, neuroscience, and ethics, the course emphasizes the process of scientific discovery—how ideas evolve from hypotheses to theories and transform into the frameworks that guide modern thought. Students will develop the tools to evaluate scientific evidence critically, communicate complex ideas to diverse audiences, and assess the broader implications of scientific advancements in shaping human life and society.

Credits: 3

This course explores the psychological and neural foundations of creativity and aesthetic experience, from the brushstrokes of a painting to the algorithms shaping AI-generated art. Students will engage with research from psychology, neuroscience, and philosophy, examining how these fields intersect to reveal the cognitive and emotional processes behind artistic expression and perception. Through discussions on topics like the nature of beauty, the origins of creativity, and the role of art in well-being, the course emphasizes the scientific study of deeply subjective experiences. Students will develop the tools to critically analyze research, communicate insights across disciplines, and explore how an understanding of aesthetics and creativity can be applied to a variety of fields.

Credits: 3

This course provides an introduction to the human body structure and its functions. Skeletal, muscular, circulatory, nervous, and reproductive systems are studied. Projects are intended to prepare students for their studio experiences in life-drawing and life-painting. No other course may be substituted.

Credits: 3

The Science of Sight is a comprehensive overview of the visual phenomenon of eyesight incorporating information from disciplines of anatomy and health, history, psychology, sociology, natural science and computer science. Though topics outside of the discipline of art will be introduced, the primary intended audience are those who intend to focus their career in the visual arts. The class consists of lectures, mini-experiments, viewing of short films, group discussions, and student presentations. Guest lecturers for specific topics are encouraged when available.

Credits: 3

This course explores the interconnected web of scientific disciplines that shape our understanding of the natural world, from the vast expanse of the cosmos to the intricate workings of the human mind. Students will engage with foundational principles of physics, biology, information science, and the human sciences, examining how these fields intersect to inform our grasp of the universe and ourselves. Through discussions on topics like cosmology, quantum theory, neuroscience, and ethics, the course emphasizes the process of scientific discovery—how ideas evolve from hypotheses to theories and transform into the frameworks that guide modern thought. Students will develop the tools to evaluate scientific evidence critically, communicate complex ideas to diverse audiences, and assess the broader implications of scientific advancements in shaping human life and society.

Credits: 3

The Science of Sight is a comprehensive overview of the visual phenomenon of eyesight incorporating information from disciplines of anatomy and health, history, psychology, sociology, natural science and computer science. Though topics outside of the discipline of art will be introduced, the primary intended audience are those who intend to focus their career in the visual arts. The class consists of lectures, mini-experiments, viewing of short films, group discussions, and student presentations. Guest lecturers for specific topics are encouraged when available.

Credits: 3

This course provides an overview of the theories of human origins. Areas emphasized include human genetics, selective pressures, Darwinian gradualism, continental drift, migration patterns, mammals, comparative anatomy, and the fossil record. A quantitative approach is employed.

Credits: 3

This course explores the basic psychological concepts underlying human behavior and development. Students may gain an understanding of the history of the science of psychology and how it has advised our culture over the last century.

Credits: 3

Designed to introduce students to a sociological understanding of how we build and live in communities. With a strong emphasis on the psychology of power structures, social institutions, social reasoning, and social constructivism, this course helps students to understand the role of the individual within the larger society. With a broad scope into the science of groups, topics may also include urgent current events to build a vivid understanding of the social interactivity in everyday life.

Credits: 3

Myths are the dreams of the people. And familiar faces and patterns — that is to say, archetypes — run rampant in these myths. To be familiar with myths and archetypes is to understand the foundations of what makes humans human. Through readings, lectures, discussions, and writing exercises, students will learn to recognize and analyze archetypal motifs that appear across cultures and time periods and understand their significance in shaping human thought and behavior. By exploring the power of myths to connect us with our past and illuminate the present, students will gain insights into the complexities of the human experience, and develop a deeper appreciation for the foundational stories that stir our emotions and inspire our actions.

Credits: 3

From the mystics of the East to the Classical philosophy of the west, this survey course takes a look at our cultures’ attempts to understand the world we live in and how to live a good life.

Credits: 3

This course will examine storytelling as our most powerful means of understanding ourselves and the world around us. Literature becomes the lens through which to view the human mind and the scientific mechanisms by which it operates—focusing on how we, as individuals, may come to understand (or misunderstand) ourselves. Students will learn the basic premises of psychology through the way humankind has told stories through great works of literature. Led by primary texts, students study story as touchstone to explore our human nature, just as the science of psychology does, finding truth and meaning about ourselves through the fictional lives of others. Some specific psychological topics will include identity, memory, crisis, depression, psychopathology, healing, and resilience, covered through the lens of the great writers and storytellers that came before us, including many not often taught.

Credits: 3

Art: The lifeblood of creative expression. A world without art is a difficult scenario to imagine. But, behind any major art project is a transaction that requires business skill and legal knowledge. Students preparing for a career in the arts should be aware of their legal rights and responsibilities. This course will provide a detailed overview to the artist in the areas of copyright, trademark and right of publicity law. But that’s just part of the picture: the business aspect of managing an art portfolio and being able to uncover opportunities is essential to any successful career that uses art as its primary income source.

Credits: 3

A survey of American cinema, this course examines film—its filmmakers, time periods, themes, and genres—as a touchstone for understanding the greater culture of American time and place, including the social conditions from which the art emerged and why it was important.

Credits: 3

Myths are the dreams of the people. And familiar faces and patterns — that is to say, archetypes — run rampant in these myths. To be familiar with myths and archetypes is to understand the foundations of what makes humans human. Through readings, lectures, discussions, and writing exercises, students will learn to recognize and analyze archetypal motifs that appear across cultures and time periods and understand their significance in shaping human thought and behavior. By exploring the power of myths to connect us with our past and illuminate the present, students will gain insights into the complexities of the human experience, and develop a deeper appreciation for the foundational stories that stir our emotions and inspire our actions.

Credits: 3

From the mystics of the East to the Classical philosophy of the west, this survey course takes a look at our cultures’ attempts to understand the world we live in and how to live a good life.

Credits: 3

This course will examine storytelling as our most powerful means of understanding ourselves and the world around us. Literature becomes the lens through which to view the human mind and the scientific mechanisms by which it operates—focusing on how we, as individuals, may come to understand (or misunderstand) ourselves. Students will learn the basic premises of psychology through the way humankind has told stories through great works of literature. Led by primary texts, students study story as touchstone to explore our human nature, just as the science of psychology does, finding truth and meaning about ourselves through the fictional lives of others. Some specific psychological topics will include identity, memory, crisis, depression, psychopathology, healing, and resilience, covered through the lens of the great writers and storytellers that came before us, including many not often taught.

Credits: 3

Art: The lifeblood of creative expression. A world without art is a difficult scenario to imagine. But, behind any major art project is a transaction that requires business skill and legal knowledge. Students preparing for a career in the arts should be aware of their legal rights and responsibilities. This course will provide a detailed overview to the artist in the areas of copyright, trademark and right of publicity law. But that’s just part of the picture: the business aspect of managing an art portfolio and being able to uncover opportunities is essential to any successful career that uses art as its primary income source.

Credits: 3

This course explores the psychological and neural foundations of creativity and aesthetic experience, from the brushstrokes of a painting to the algorithms shaping AI-generated art. Students will engage with research from psychology, neuroscience, and philosophy, examining how these fields intersect to reveal the cognitive and emotional processes behind artistic expression and perception. Through discussions on topics like the nature of beauty, the origins of creativity, and the role of art in well-being, the course emphasizes the scientific study of deeply subjective experiences. Students will develop the tools to critically analyze research, communicate insights across disciplines, and explore how an understanding of aesthetics and creativity can be applied to a variety of fields.

Credits: 3

How do environments influence our experience of the world? The spaces we occupy can be understood as characters in the stories of our lives. This course will examine the intersections between psychology, narratives, and environment. Environment is understood in its fullest sense, encompassing the built and natural world. encompassing intimate spaces, architecture and design, landscape, and the natural world. Students will read theory and research on environmental and narrative psychology, in connection with contextualizing material drawn from fiction, poetry and philosophy. A range of topics will be covered including: psychology of intimate versus public spaces, architecture and design, landscape, the natural world and the stories we tell to make sense of our relationship to it, and the psychology of climate change. As storytellers, students will gain deep insight into the ways in which the spaces we occupy, both in our lives and in our imaginations, shape the ways in which we make sense of our world.

Credits: 3

Art: The lifeblood of creative expression. A world without art is a difficult scenario to imagine. But, behind any major art project is a transaction that requires business skill and legal knowledge. Students preparing for a career in the arts should be aware of their legal rights and responsibilities. This course will provide a detailed overview to the artist in the areas of copyright, trademark and right of publicity law. But that’s just part of the picture: the business aspect of managing an art portfolio and being able to uncover opportunities is essential to any successful career that uses art as its primary income source.