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School of Art

BULLETIN OF YALE UNIVERSITY

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2019–2020

School of Art  2019–2020

BULLETIN OF YALE UNIVERSITY

Series 115  Number 1  May 25, 2019
BULLETIN OF YALE UNIVERSITY  Series 115  Number 1  May 25, 2019 (USPS 078-500) The University is committed to basing judgments concerning the admission, education,
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Questions regarding the editorial content of this publication may be referred to Taryn In accordance with federal and state law, the University maintains information on secu-
Wolf, Director of Academic Administration, Yale School of Art. rity policies and procedures and prepares an annual campus security and fire safety report
containing three years’ worth of campus crime statistics and security policy statements,
Inquiries fire safety information, and a description of where students, faculty, and sta≠ should go
All inquiries regarding admission to graduate programs in art should be addressed to to report crimes. The fire safety section of the annual report contains information on
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School of Art
2019–2020

BULLETIN OF YALE UNIVERSITY

Series 115  Number 1  May 25, 2019
Contents
Calendar 4
The President and Fellows of Yale University  6
The O∞cers of Yale University  7
School of Art Administration and Faculty  8
A Message from the Dean  14
Mission Statement  15
History of the School  16
Program 18
Areas of Study  19
Course Descriptions  24
Entrance Requirements  51
Admissions Open House  57
International Students  57
Tuition and Fees  59
Financial Aid  62
Art Resources and Collections  65
Digital Labs  65
Center for Collaborative Arts and Media  65
Center for Engineering Innovation and Design  66
Ralph Mayer Learning Center  66
Yale University Art Gallery  66
Yale Center for British Art  67
Libraries 67
Yale Norfolk School of Art  68
Summer Courses in Art  68
General Information  70
Academic Regulations  70
General Regulations  75
Freedom of Expression  76
Yale University Resources and Services  77
A Global University  77
Cultural and Social Resources  78
Graduate and Professional Student Senate (GPSS)  79
Athletic Facilities  79
Health Services  80
Housing and Dining  85
O∞ce of International Students and Scholars  85
Resource O∞ce on Disabilities  86
Resources on Sexual Misconduct  86
Visiting Artists and Scholars  90
Annual Awards  93
Degrees and Enrollment  96
The Work of Yale University  103
Map 106
Travel Directions  108
Calendar
Fall 2019
Aug. 23 F Orientation for new students
Aug. 27 T Registration for all students
Aug. 28 W Fall-term classes begin, 8:25 a.m.
Aug. 30 F Yale College Friday classes do not meet; Monday classes meet
instead
Sept. 2 M Labor Day; classes do not meet; o∞ces closed
Sept. 16 M Last day to add a course with permission of registrar
Oct. 16 W October recess begins for Yale College, 8:25 a.m.
Oct. 21 M Yale College classes resume
Oct. 25 F Last day to drop a course with permission of registrar
Midterm grades due, 12 noon
Nov. 14 TH Annual All-School Open House
Nov. 22 F November recess begins, 5:30 p.m.
Dec. 2 M Classes resume, 8:25 a.m.
Dec. 6 F Last day to withdraw from a course with permission
of instructor and registrar
Fall-term classes end, 5:30 p.m.
Reading period begins
Dec. 12 TH Critiques and examinations begin, 9 a.m.
Dec. 18 W Critiques and examinations end, 5:30 p.m.
Winter recess begins
 Calendar  5  

Spring 2020
Jan. 10 F Closing date for submission of online applications
for admission in September 2020
Jan. 13 M Registration for all students
Spring-term academic classes begin
Jan. 14 T Spring-term School of Art classes begin, 8:25 a.m.
Jan. 17 F Yale College Friday classes do not meet; Monday classes meet
instead
Jan. 20 M Martin Luther King, Jr. Day; o∞ces closed; classes do not meet
Feb. 7 M Last day to add a course with permission of registrar
Mar. 6 F Last day to drop a course with permission of registrar
Midterm grades due, 12 noon
Spring recess begins, 5:30 p.m.
Mar. 23 M Classes resume, 8:25 a.m.
Apr. 24 F Last day to withdraw from a course with permission
of instructor and registrar
Spring-term classes end, 5:30 p.m.
Reading period begins
Apr. 30 TH Critiques and examinations begin, 9 a.m.
May 6 W Critiques and examinations end, 5:30 p.m.
Summer recess begins
May 18 M University Commencement
The President and Fellows of Yale University
President
Peter Salovey, A.B., A.M., Ph.D.

Fellows
His Excellency the Governor of Connecticut, ex o∞cio
Her Honor the Lieutenant Governor of Connecticut, ex o∞cio
Joshua Bekenstein, B.A., M.B.A., Wayland, Massachusetts
Charles Waterhouse Goodyear IV, B.S., M.B.A., New Orleans, Louisiana
Catharine Bond Hill, B.A., B.A., M.A., Ph.D., New York, New York
Paul Lewis Joskow, B.A., Ph.D., Brookline, Massachusetts
William Earl Kennard, B.A., J.D., Charleston, South Carolina
Gina Marie Raimondo, A.B., D.Phil., J.D., Providence, Rhode Island ( June 2020)
Emmett John Rice, Jr., B.A., M.B.A., Bethesda, Maryland
Eve Hart Rice, B.A., M.D., Bedford, New York ( June 2021)
Joshua Linder Steiner, B.A., M.St., New York, New York
David Li Ming Sze, B.A., M.B.A., Hillsborough, California
Annette Thomas, S.B., Ph.D., Cambridge, England ( June 2022)
Kathleen Elizabeth Walsh, B.A., M.P.H., Wellesley, Massachusetts ( June 2023)
Douglas Alexander Warner III, B.A., Hobe Sound, Florida
Michael James Warren, B.A., P.P.E., Washington, D.C. ( June 2024)
Lei Zhang, B.A., M.A., M.B.A., Hong Kong, China
The O∞cers of Yale University
President
Peter Salovey, A.B., A.M., Ph.D.

Provost
Benjamin Polak, B.A., M.A., Ph.D.

Secretary and Vice President for Student Life

Kimberly Midori Go≠-Crews, B.A., J.D.

Senior Vice President for Operations

Jack Francis Callahan, Jr., B.A., M.B.A.

Senior Vice President for Institutional A≠airs and General Counsel

Alexander Edward Dreier, A.B., M.A., J.D.

Vice President for Finance and Chief Financial O∞cer

Stephen Charles Murphy, B.A.

Vice President for Alumni A≠airs and Development

Joan Elizabeth O’Neill, B.A.

Vice President for West Campus Planning and Program Development

Scott Allan Strobel, B.A., Ph.D.

Vice President for Human Resources and Administration

Janet Elaine Lindner, B.S., M.P.A., Ed.D.

Vice President for Global Strategy

Pericles Lewis, B.A., A.M., Ph.D.

Vice President for Facilities and Campus Development

John Harold Bollier, B.S., M.B.A.

Vice President for Communications

Nathaniel Westgate Nickerson, B.A.
School of Art Administration and Faculty
Executive O∞cers
Peter Salovey, Ph.D., President of the University
Benjamin Polak, Ph.D., Provost
Marta Kuzma, M.A., Stavros Niarchos Foundation Dean
Ayham Ghraowi, M.F.A., Assistant Dean for Research and Public Projects
Sarah Stevens-Morling, B.F.A., Assistant Dean for Communications and Digital Media

Faculty Emeriti
William Bailey, M.F.A., Professor Emeritus of Painting
Rochelle Feinstein, M.F.A., Professor Emerita of Painting
Richard Lytle, M.F.A., Professor Emeritus of Painting
Tod Papageorge, B.A., Professor Emeritus of Photography

Critical Studies Faculty

Marta Kuzma, M.A., Professor of Critical Practice and Director of Graduate Studies
Denise Ferreira da Silva, Ph.D., Visiting Professor
Andrea Fraser, M.F.A., Visiting Professor
Fred Moten, Ph.D., Visiting Professor
Peter Osborne, D.Phil., Visiting Professor
Walid Raad, Ph.D., Visiting Professor
Hito Steyerl, Ph.D., Visiting Professor

Graphic Design Faculty

Sheila Levrant de Bretteville, M.F.A., Caroline M. Street Professor of Graphic Design
and Director of Graduate Studies (on leave, spring 2020)
Keira Alexandra, B.F.A., Critic
Michael Bierut, B.F.A., Senior Critic
Julian Bittiner, M.F.A., Senior Critic and Acting Director of Graduate Studies
(spring 2020)
Irma Boom, B.F.A., Senior Critic
Matthew Carter, R.D.I., Senior Critic
Yeju Choi, M.F.A., Critic
Alice Chung, B.G.D., M.A., Senior Critic
Paul Elliman, Senior Critic
Tobias Frere-Jones, B.F.A., Senior Critic
John Gambell, M.F.A., Senior Critic
Barbara Glauber, M.F.A., Senior Critic
Neil Goldberg, B.A., Critic
Geo≠ Han, M.F.A., Critic
Allen Hori, M.F.A., Senior Critic
Pamela Hovland, M.F.A., Senior Critic
David Israel, M.F.A., Critic
Geo≠ Kaplan, M.F.A., Lecturer
Karel Martens, B.F.A., Senior Critic
 Administration and Faculty   9  

Rosa McElheny, M.F.A., Lecturer

Dan Michaelson, M.F.A., Senior Critic
Manuel Miranda, M.F.A., Senior Critic
Sigi Moeslinger, M.F.A., Senior Critic
Gisela Noack, Lecturer
Eddie Opara, M.F.A., Critic
Mark Owens, M.F.A., Critic
Christopher Pullman, M.F.A., Senior Critic
Enrique Ramirez, Ph.D., Critic
Michael Rock, M.F.A., Professor Adjunct
Richard Rose, M.A., Critic
Julika Rudelius, B.F.A., Critic
Laurel Schwulst, B.F.A., Critic
Douglass Scott, M.F.A., Senior Critic
Susan Sellers, M.A., Senior Critic
Mindy Sen, M.Des., Critic
Adam Reid Sexton, M.F.A., Critic
Elizabeth Sledge, M.A., Senior Critic
Nina Stössinger, M.A., Critic
Scott Stowell, B.F.A., Senior Critic
Masamichi Udagawa, M.F.A., Senior Critic
Henk van Assen, M.F.A., Senior Critic
Linda van Deursen, B.F.A., Senior Critic
Ryan Waller, M.F.A., Critic

Painting/Printmaking Faculty
Anoka Faruqee, M.F.A., Professor and Director of Graduate Studies
Mark Aronson, M.S., Critic
Christian Curiel, M.F.A., Lecturer
Sanya Kantarovsky, M.F.A., Critic
Matthew Keegan, M.F.A., Lecturer
Byron Kim, B.A., Senior Critic
Troy Michie, M.F.A., Lecturer
Meleko Mokgosi, M.F.A., Senior Critic
Sophy Naess, M.F.A., Lecturer
Sarah Oppenheimer, M.F.A., Senior Critic
R.H. Quaytman, B.A., Critic
Kenny Rivero, M.F.A., Lecturer
Halsey Rodman, M.F.A., Critic
Karin Schneider, M.F.A., Critic
Robert Storr, M.F.A., Professor
Alexander Valentine, M.F.A., Lecturer
Anahita Vossoughi, M.F.A., Lecturer
Molly Zuckerman-Hartung, M.F.A., Critic
10   School of Art, 2019–2020

Photography Faculty
Gregory Crewdson, M.F.A., Professor and Director of Graduate Studies
Jennifer Blessing, M.A., Critic
Benjamin Donaldson, M.F.A., Critic
Lisa Kereszi, M.F.A., Critic and Director of Undergraduate Studies
Roxana Marcoci, Ph.D., Critic
Lesley Martin, B.Ph., Critic
Shirin Neshat, M.F.A., Critic
Ted Partin, M.F.A., Lecturer
Elle Pérez, M.F.A., Critic
John Pilson, M.F.A., Senior Critic
Collier Schorr, B.F.A., Senior Critic
Laurie Simmons, B.F.A., Critic
Danna Singer, M.F.A., Lecturer
Nancy Spector, M.Phil., Critic
Lynne Tillman, B.A., Critic

Sculpture Faculty
Martin Kersels, M.F.A., Professor and Director of Graduate Studies
Kevin Beasley, M.F.A., Critic
Nayland Blake, M.F.A., Critic
Sandra Burns, M.F.A., Lecturer
Leslie Dick, B.A., Senior Critic
Brent Howard, M.F.A., Lecturer
Michael Joo, M.F.A., Critic
Jenn Joy, Ph.D., Critic
Leigh Ledare, M.F.A., Critic
Melinda Ring, M.F.A., Critic
Aki Sasamoto, M.F.A., Senior Critic
Elizabeth Tubergen, M.F.A., Lecturer

Interdisciplinary/Film/Video Faculty
Jonathan Andrews, B.A., Lecturer
Michel Auder, Critic
Justin Berry, M.F.A., Lecturer
Antoine Catala, M.F.A., Lecturer
Sandra Luckow, M.F.A., Critic
Corey McCorkle, M.F.A., Lecturer
Markus Schinwald, M.F.A., Lecturer
A.L. Steiner, M.F.A., Critic
Sarah Stevens-Morling, B.F.A., Critic
Jonathan Weinberg, Ph.D., Critic

Administrative Sta≠
Alex Adams, M.F.A., Facilities Supervisor
Regina Bejnerowicz, M.B.A., Director of Finance and Administration
 Administration and Faculty   11  

David Blackmon, M.S., Director of Student Financial Resources and Financial Aid
Emily Cappa, M.F.A., Senior Administrative Assistant, Academic Administration
and Undergraduate Studies
Edi Dai, M.F.A., Postgraduate Research Fellow, O∞ce of the Dean
Willis Kingery, M.F.A., Postgraduate Research Fellow, O∞ce of the Dean
Janet Liscio, Registrar, Academic Administration
Lindsey Mancini, M.A., Communications Associate
Kris Mandelbaum, M.F.A., Senior Administrative Assistant, Painting/Printmaking
and Sculpture
Patsy Mastrangelo, B.A., Senior Administrative Assistant, Graphic Design and
Photography
Brian Schmidt, M.F.A., Senior Administrative Assistant, Financial A≠airs
Jill Westgard, M.A., Director of Development
Susannah Wilson, M.B.A., Operations Manager
Taryn Wolf, B.F.A., Director of Academic Administration

Center for Collaborative Arts and Media

Dana Karwas, M.P.S., Director
Justin Berry, M.F.A., Critic
Caitlin Harder, M.A., M.F.A., Programs Manager

Department of the History of Art

Carol Armstrong, Ph.D., Professor and Director of Graduate Studies
Timothy Barringer, Ph.D., Paul Mellon Professor of the History of Art and
Department Chair
Marisa Bass, Ph.D., Associate Professor and Director of Undergraduate Studies
Rizvana Bradley, Ph.D., Assistant Professor
Craig Buckley, Ph.D., Assistant Professor
Nicole Chardiet, Senior Administrative Assistant
Edward Cooke, Jr., Ph.D., Charles F. Montgomery Professor of the History of Art
Kari Coyle, Graduate Registrar
Cécile Fromont, Ph.D., Associate Professor
Milette Gaifman, Ph.D., Associate Professor
Aglaya Glebova, Ph.D., Assistant Professor
Jacqueline Jung, Ph.D., Associate Professor
Subhashini Kaligotla, Ph.D., Assistant Professor
Diana E.E. Kleiner, Ph.D., Dunham Professor of Classics and the History of Art
Pamela Lee, Ph.D., Carnegie Professor of Modern and Contemporary Art
Kobena Mercer, Ph.D., Professor
Robert Nelson, Ph.D., Robert Lehman Professor of the History of Art
Quincy Ngan, Ph.D., Assistant Professor
Jennifer Raab, Ph.D., Associate Professor
Linda Relyea, Operations Manager
Kishwar Rizvi, Ph.D., Professor
Nicola Suthor, Ph.D., Professor
Mimi Hall Yiengpruksawan, Ph.D., Professor
12   School of Art, 2019–2020

Yale University Art Gallery

Stephanie Wiles, Ph.D., Henry J. Heinz II Director
Joellen Adae, B.A., Director of Communications
L. Lynne Addison, B.A., Registrar
Ruth Barnes, Ph.D., Thomas Ja≠e Curator of Indo-Pacific Art
Leonor Barroso, B.S., Director of Visitor Services
Lisa R. Brody, Ph.D., Associate Curator of Ancient Art
Judy Ditner, Ph.D., Richard Benson Associate Curator of Photography and Digital
Media
Sean Dunn, A.A.S., Director of Facilities
John ≠rench, B.F.A., Director of Visual Resources
John Stuart Gordon, Ph.D., Benjamin Attmore Hewitt Associate Curator of American
Decorative Arts
James Green, Ph.D., Frances and Benjamin Benenson Foundation Assistant Curator of
African Art
Burrus Harlow, B.F.A., Director of Collections
Elizabeth Harnett, A.A., Program Coordinator
Benjamin Hellings, Ph.D., Ben Lee Damsky Assistant Curator of Numismatics
Elizabeth Hodermarsky, B.A., Sutphin Family Senior Associate Curator of Prints and
Drawings
John Hogan, M.F.A., Mary Jo and Ted Shen Installation Director
Linda Jerolmon, B.A., Membership Manager
Patricia E. Kane, Ph.D., Friends of American Arts Curator of American Decorative Arts
Laurence B. Kanter, Ph.D., Chief Curator and Lionel Goldfrank III Curator of
European Art
Jessica Labbé, M.B.A., Deputy Director for Finance and Administration
Denise Leidy, Ph.D., Ruth and Bruce Dayton Curator of Asian Art
Susan B. Matheson, M.A., Molly and Walter Bareiss Curator of Ancient Art
Ian McClure, B.A., Susan Morse Hilles Chief Conservator
Liliana Milkova, Ph.D., Nolen Curator of Education and Academic A≠airs
Mark D. Mitchell, Ph.D., Holcombe T. Green Curator of American Paintings and
Sculpture
Heather Nolin, Ph.D., Deputy Director for Exhibitions, Programming, and Education
Sadako Ohki, Ph.D., Japan Foundation Associate Curator of Japanese Art
Keely Orgeman, Ph.D., Alice and Allan Kaplan Associate Curator of American
Paintings and Sculpture
Thomas Raich, M.A., Director of Information Technology
Jessica Sack, M.A., Jan and Frederick Mayer Senior Associate Curator of
Public Education
Christopher Sleboda, M.F.A., Director of Graphic Design
Carol Snow, M.S., Deputy Chief Conservator and Alan J. Dworsky Senior Conservator
of Objects
Ti≠any Sprague, M.A., Director of Publications and Editorial Services
Janet Sullivan, Communications Coordinator
Molleen Theodore, Ph.D., Associate Curator of Programs
Je≠rey Yoshimine, B.A., Deputy Director for Exhibition and Collection Management
 Administration and Faculty   13  

Robert B. Haas Family Arts Library

Heather Gendron, M.L.I.S., Director
Jennifer Aloi, B.S., Senior Administrative Assistant
Dana Berkowitz, M.L.I.S., Library Services Assistant, Evening/Weekend
Frank Boateng, M.B.A., M.L.S., Team Leader, Evening/Weekend
Roselyn Cruz, B.A., Library Services Assistant
Mar González Palacios, B.Arch., B.F.A., M.L.I.S., Associate Director, Arts Library
Special Collections
Lindsay King, M.A., M.L.I.S., Associate Director for Access and Research Services
Jodee London, B.A., Library Services Assistant
Teresa Mensz, M.A., Library Services Assistant
William Richo, B.A., Library Services Assistant
Shawana Snell, M.S., Team Leader, Daytime
Maria Zapata, A.S., Technical Services Assistant

Yale Center for British Art

Courtney J. Martin, Ph.D., Director (e≠ective July 1, 2019)
Constance Clement, B.A., Deputy Director
Rebecca Sender, M.B.A., Deputy Director for Finance and Administration
Mark Aronson, M.S., Chief Conservator
Kraig Binkowski, M.L.I.S., Chief Librarian
Rachel Chatalbash, Ph.D., Senior Archivist
Jessica David, M.S., Senior Conservator of Paintings
Emmanuelle Delmas-Glass, M.A., Collections Data Manager
Molly Dotson, M.A., M.L.S., Assistant Curator of Rare Books and Manuscripts
Martina Droth, Ph.D., Deputy Director of Research, Exhibitions, and Publications,
and Curator of Sculpture
Theresa Fairbanks-Harris, M.S., Senior Conservator of Works of Art on Paper
Elisabeth Fairman, M.S.L.S., Chief Curator of Rare Books and Manuscripts
Nathan Flis, Ph.D., Head of Exhibitions and Publications and Assistant Curator of
Seventeenth-Century Paintings
Lisa Ford, Ph.D., Senior Manager of Special Projects
Linda Friedlaender, M.S., Senior Curator of Education
Matthew Hargraves, Ph.D., Chief Curator of Art Collections
Richard Johnson, B.A., Chief of Installation
Lars Kokkonen, Ph.D., Assistant Curator of Paintings and Sculpture
Beth Miller, M.P.P.M., Deputy Director for Advancement and External A≠airs
Corey Myers, Chief Registrar
Jane Nowosadko, B.A., Head of Public Programs
Jules Prown, Ph.D., Senior Research Fellow
Chitra Ramalingam, Ph.D., Assistant Curator of Photography
Jennifer Reynolds-Kaye, Ph.D., Curator of Education and Academic Outreach
Lyn Bell Rose, B.A., Head of Design
Edward Town, Ph.D., Head of Collections Information and Access and Assistant
Curator of Early Modern Art
Scott Wilcox, Ph.D., Deputy Director for Collections
A Message from the Dean
The Yale School of the Fine Arts opened in 1869 as the first art school connected with
an institution of higher learning in the United States. Today, as the leading M.F.A. pro-
gram in the country, the Yale School of Art remains posited within the larger research
university, providing our students with the opportunity for a broader education in visual
arts and graphic design. We currently augment the existing and excellent studio-based
education with mandatory courses in the department of critical practice in addition to
an engaging selection of elective courses and workshops that explore the intersections of
art through cultural, social, political, and economic perspectives. Students work closely
with a renowned full-time and tenured faculty together with a visiting faculty of inter-
nationally recognized artists to develop an individual professional practice. Graduates of
the Yale School of Art contribute to the field of contemporary art in various and unique
capacities as artists, educators, and community mediators.
This bulletin details the course requirements and policies of the M.F.A. program, tak-
ing into account that it extends beyond the School into a wider constellation of programs
and workshops. The porousness of the M.F.A. program allows the School to respond to
the evolving interests of its students in areas and practices beyond those o≠ered within
the core curriculum.
The School of Art recognizes that an individual student’s experience is not limited to
an existence within an enclosed intellectual and artistic preserve, but is also one that is
interrelational, transformative, and identify-forming. Being a professional student within
Yale University opens avenues of cooperation across disciplines. While this includes the
traditional and established relationships with the Schools of Architecture, Drama, and
Music, it also presents discussions within the broader sciences and humanities, as well as
opportunities with the Yale University Art Gallery, Yale Center for British Art, individual
Yale libraries such as the Beinecke Rare Book and Manuscript Library, and the Yale Farm.
As a professional school of visual art and graphic design, the Yale School of Art
upholds the value of autonomy within and around developing an artist’s studio practice
while preserving the development of an engaged student community wherein alterity is
respected, diversity sought, and the freedom of artistic expression coveted.

Welcome.

Marta Kuzma
Stavros Niarchos Foundation Dean and Professor of Critical Practice
Yale School of Art
Mission Statement
The mission of the Yale School of Art is to provide students with intellectually informed,
hands-on instruction in the practice of an array of visual arts media within the context
of a liberal arts university. As a part of the first institution of higher learning to success-
fully integrate a studio-based education into such a broad pedagogical framework, the
Yale School of Art has a long and distinguished history of training artists of the highest
caliber. A full-time faculty of working artists and designers in conjunction with a diverse
cross-section of accomplished visiting artists collaborate to design a program and foster
an environment where the unique talents and perspectives of individual students can
emerge and flourish.
The School of Art is founded on the belief that art is a fundamental force in national
and international culture, and that one of the primary standards by which societies are
judged is the quality, creative freedom, critical insight, and formal and technical innova-
tion of the visual art they produce. The Yale School of Art teaches at the graduate and
undergraduate levels, and consequently the student body consists of those whose primary
or exclusive focus is art as well as those for whom art is an essential part of a varied course
of inquiry. The school currently o≠ers degrees and undergraduate majors in the areas of
graphic design, painting/printmaking, photography, and sculpture.
History of the School
The study of the visual arts at Yale had its beginning with the opening, in 1832, of the
Trumbull Gallery, one of the earliest art museums in the Anglo-Saxon world and the
first (and long the only one) connected with a college in this country. It was founded by
patriot-artist Colonel John Trumbull, one-time aide-de-camp to General Washington,
with the help of Professor Benjamin Silliman, the celebrated scientist. A singularly suc-
cessful art exhibition held in 1858 under the direction of the College Librarian, Daniel
Coit Gilman, led to the establishment of an art school in 1864, through the generosity
of Augustus Russell Street, a native of New Haven and graduate of Yale’s Class of 1812.
This new educational program was placed in the hands of an art council, one of whose
members was the painter-inventor Samuel F. B. Morse, a graduate of Yale College. When
the Yale School of the Fine Arts opened in 1869, it was the first art school connected
with an institution of higher learning in the country, and classes in drawing, painting,
sculpture, and art history were inaugurated. The art collections in the old Trumbull Gal-
lery were moved into a building endowed by Augustus Street and so named Street Hall,
and were greatly augmented by the acquisition of the Jarves Collection of early Italian
paintings in 1871.
Architectural instruction was begun in 1908 and was established as a department in
1916 with Everett Victor Meeks at its head. Drama, under the direction of George Pierce
Baker and with its own separate building, was added in 1925 and continued to function as
a department of the School until it became an independent school in 1955. In 1928 a new
art gallery was opened, built by Egerton Swartwout and funded through the generosity
of Edward S. Harkness. It was connected to Street Hall by a bridge above High Street,
and Street Hall was used for instruction in art. The program in architecture was moved
to Weir Hall, designed by George Douglas Miller. A large addition to the Art Gallery,
designed by Louis I. Kahn in collaboration with Douglas Orr, and funded by the family
of James Alexander Campbell and other friends of the arts at Yale, was opened in 1953.
Several floors were used by the School until the rapidly expanding Art Gallery collec-
tions required their use. In 1959 the School of Art and Architecture was made a fully
graduate professional school. In 1963 the Art and Architecture Building, designed by Paul
Rudolph, was opened, funded by many friends of the arts at Yale under the chairmanship
of Ward Cheney. In 1969 the School was constituted as two faculties, each with its own
dean; and in 1972 two separate schools were established by the President and Fellows, the
School of Art and the School of Architecture, which until 2000 shared the Rudolph build-
ing (now Rudolph Hall) for most of their activities. Sculpture was housed at 14 Mansfield
Street in Hammond Hall (a large building formerly used for mechanical engineering),
graphic design was located at 212 York Street (an old Yale fraternity building), and at 215
Park Street there were classrooms and additional graduate painting studios. Street Hall
was assigned to the University Department of the History of Art (it is now part of the Yale
University Art Gallery). The arts at Yale—architecture, art, the Art Gallery, the Center
for British Art, the history of art, the School of Drama, and the Repertory Theatre—thus
occupied a group of buildings stretching along and near Chapel Street for almost three
blocks.
 History of the School   17  

It had long been the University’s plan to extend the Arts Area schools farther up Cha-
pel Street. The first major new construction under this plan was the renovation of 1156
Chapel Street with the addition of an adjoining building at 353 Crown Street, designed
by Deborah Berke, which opened in September 2000. A generous gift by Yale College
graduate Holcombe T. Green, Jr., for whom the building is named, and a major contribu-
tion by Marion Rand in memory of her husband, Paul Rand, professor of graphic design,
made this new complex possible. The new art buildings house an experimental theater
for the School of Drama and all departments of the School of Art except sculpture. In
2009 sculpture moved from Hammond Hall, where it was housed from 1973 to 2008, to
a new building in the Arts Area at 36 Edgewood Avenue adjacent to a new School of Art
gallery at 32 Edgewood Avenue, both designed by Kieran Timberlake.

Deans of the Yale School of Art

1869–1913 John Ferguson Weir
1913–1922 William Sergeant Kendall
1922–1947 Everett Meeks
1947–1957 Charles Sawyer
1957–1958 Boyd Smith
1958–1968 Gibson Danes
1968–1974 Howard Weaver
1974–1975 William Bailey
1975–1983 Andrew Forge
1983–1996 David Pease
1996–2006 Richard Benson
2006–2016 Robert Storr
2016– Marta Kuzma
Program
The School of Art o≠ers professional instruction in four interrelated areas of study:
graphic design, painting/printmaking, photography, and sculpture.
Artists and designers of unusual promise and strong motivation are provided an
educational context in which they can explore the potential of their own talents in the
midst of an intense critical dialogue. This dialogue is generated by their peers, by dis-
tinguished visitors, and by a faculty comprised of professional artists of acknowledged
accomplishment.
The graduate student’s primary educational experience at Yale is centered on the
student’s own studio activity. Supporting this enterprise are the experience, knowledge,
and skills gained from rigorous, structured courses such as drawing, filmmaking, the
relativity of color, and the rich academic o≠erings found throughout Yale. Each student is
routinely exposed to many aesthetic positions through encounters with faculty members
and visitors. The School is devoted not only to the refinement of visual skills, but also to
the cultivation of the mind. Students must bring creative force and imagination to their
own development, for these qualities cannot be taught—they can only be stimulated and
appreciated.
The School of Art o≠ers an undergraduate art major for students in Yale College (see
the bulletin Yale College Programs of Study). In addition, the School’s courses are open to
students in the Graduate School of Arts and Sciences and other professional schools of
the University, and School of Art students may enroll in elective courses in the Graduate
School and other professional schools as well as in the College with permission.

Master of Fine Arts Degree

The degree of Master of Fine Arts is the only degree o≠ered by the School of Art. It is
conferred by the University upon recommendation of the faculty after successful comple-
tion of all course work in residence and after a thesis presentation that has been approved
by the faculty. It implies distinctive achievement on the part of students in studies in
the professional area of their choice and demonstrated capacity for independent work.
The minimum residence requirement is two years. All candidates’ work is reviewed by
faculty at the end of each term. If the work is not considered satisfactory, the student
may not be invited back to complete the program (see section on Reviews and Awards
under Academic Regulations in the chapter General Information). All degree candidates
are expected to be present at the Commencement exercises in May unless excused by
the dean.
Course work for the Master of Fine Arts degree carries a minimum of sixty credits.
The disposition of these credits varies according to the area of study and is agreed upon
at the time of registration between the student and the student’s faculty adviser.
Areas of Study
Graphic Design
The graphic design program focuses on the development of a cohesive, investigative body
of work, also known as the student’s thesis. At Yale, the graphic design thesis is conceived
as a loose framework within which each student’s visual method is deployed across many
diverse projects during the two-year course of study. While every thesis project is unique,
there are several common features: a focus on methodology, the application of a visual
method to studio work, and the organization of the work in a thoughtfully argued written
document and a “Thesis Book.”
The individual collection of graphic design work by each student is supported on sev-
eral levels simultaneously: studio work led by faculty meeting weekly; small six-person
thesis groups meeting biweekly; individual sessions with writing and editing tutors; and
lectures, presentations, and workshops.
Although the School of Art provides digital lab facilities, all graphic design students
are expected to have their own personal computer. Each student has a designated work
space in the design studio loft and has access to equipment including bookbinding mate-
rials, wide-format printers, a RISO duplicator, Vandercook letterpress, and work spaces
in the School of Art buildings. More resources supporting interdisciplinary projects
including motion capture and VR are available at the nearby Center for Collaborative
Arts and Media. In addition, students draw on the extraordinary resources of Yale Uni-
versity courses, conferences, films, lectures, and museums, and especially the extensive
research and rare book collections of Sterling, Haas, and Beinecke libraries.
Each year, up to twelve students are admitted into the two-year graphic design pro-
gram, and up to seven students are admitted into the preliminary-year program. Two-
year-program students are expected to have substantial and distinguished experience in
visual studies and related professional experience. Students applying to the preliminary-
year program typically have relevant experience in a field of study outside design and
demonstrate evidence of visual acuity. After successful completion of the preliminary
year, these students automatically continue on in the two-year M.F.A. program.

Credit Requirements
42 credits in area of concentration, including ART 949a, and 18 additional credits, includ-
ing a minimum of 6 academic credits in courses outside the School of Art.

Typical Plan of Study

Preliminary Year, Minimum Credits
Course Fall-Term Credits Spring-Term Credits
ART 710, Preliminary Studio 6 6
ART 264a and 265b 3 3
ART 370a and 369b 3 3
ART 468a and 469b 3 3
__ __
15 15
20   School of Art, 2019–2020

First Year, Minimum Credits

Course Fall-Term Credits Spring-Term Credits
ART 720, Graduate Studio 6 6
Graphic Design Sequence 3 3
ART 949a, Critical Practice 3 0
Academic or Studio Electives 3 6
__ __
15 15
Second Year, Minimum Credits
Course Fall-Term Credits Spring-Term Credits
ART 730, Graduate Studio 6 6
ART 739, Degree Presentation in 3 3
Graphic Design
Graphic Design Sequence 0 3
Academic or Studio Electives 6 3
__ __
15 15

Painting/Printmaking
Instruction in the program is rooted in the investigation of painting as a unique genre
with its own complex syntax and history. Within this setting, the program encourages
diversity of practice and interpretation, innovation, and experimentation.
Approximately twenty-one students are admitted each year. At the core of instruc-
tion are individual and group critiques with faculty, visiting critics, and visiting artists.
In addition, students participate in a variety of seminars taught by faculty members.
The study of printmaking is integrated into the painting program, and a student may
concentrate in painting, printmaking, or a combination of the two.
Students work in individual 300-square-foot studios at 353 Crown Street adjacent
to Green Hall. Students have access to a printmaking workshop in the Crown Street
building, equipped with two etching presses and a lithography press, a fully equipped
silkscreen facility, as well as digital resources available in the print studio, throughout the
School, and at the Center for Collaborative Arts and Media.

Credit Requirements
42 credits in area of concentration, including ART 949a, and 18 additional credits, includ-
ing a minimum of 6 academic credits in courses outside the School of Art.

Typical Plan of Study

First Year, Minimum Credits
Course Fall-Term Credits Spring-Term Credits
ART 545, Individual Criticism 6 6
ART 510, Pit Crit 3 3
ART 546a, Round Trip 3 0
ART 949a, Critical Practice 3 0
Academic or Studio Electives 0 6
__ __
15 15
 Areas of Study   21  

Second Year, Minimum Credits

Course Fall-Term Credits Spring-Term Credits
ART 545, Individual Criticism 6 6
ART 510, Pit Crit 3 3
ART 577, Thesis Workshop 1.5 0
Academic or Studio Electives 4.5 6
__ __
15 15

Photography
Photography is a two-year program of study admitting ten students a year. Darkroom,
studio, and computer facilities are provided. Students receive technical instruction in
black-and-white and color photography as well as nonsilver processes and digital image
production.
The program is committed to a broad definition of photography as a lens-based
medium open to a variety of expressive means. Students work both individually and in
groups with faculty and visiting artists. In addition, a critique panel composed of faculty
and other artists or critics meets weekly, as well as for a final review each term, to discuss
student work.

Credit Requirements
42 credits in area of concentration, including ART 949a, and 18 additional credits, includ-
ing a minimum of 6 academic credits in courses outside the School of Art.

Typical Plan of Study

First Year, Minimum Credits
Course Fall-Term Credits Spring-Term Credits
ART 845, Individual Criticism 6 6
ART 828, Issues in Contemporary 3 3
Photography
ART 802b, Between Frames 0 3
ART 949a, Critical Practice 3 0
Academic or Studio Electives 3 3
__ __
15 15

Second Year, Minimum Credits

Course Fall-Term Credits Spring-Term Credits
ART 845, Individual Criticism 6 6
ART 823a, Critical Perspectives 3 0
ART 825b, Photo Book 0 3
Academic or Studio Electives 6 6
__ __
15 15
22   School of Art, 2019–2020

Sculpture
The sculpture program o≠ers students the opportunity to develop their work in a sup-
portive environment consisting of critical feedback in a broad array of diverse voices. The
field of sculpture includes a varied collection of working methods and outcomes—one set
of tools is not privileged over another—creating a healthy and experimental program that
mirrors the issues facing artists outside of the institution. Students work independently
in individual studio spaces and have access to common areas for the critique of their work.
36 Edgewood houses the sculpture program and has a woodworking shop, a metal shop,
and a computer lab, while additional resources are o≠ered by the School of Art and the
University at large. No metal-casting or ceramic facilities are available.
The main focus of this program is to facilitate the development of conversation
and constructive critique among students and faculty. Our aim is to articulate student
work vis-à-vis its own trajectory and in relation to art history and the current moment.
This conversation is formally structured to take place one-on-one between students
and faculty, in small groups, and within a larger group involving the whole sculpture
department.
Approximately ten students are admitted each year.

Credit Requirements
42 credits in area of concentration, including ART 949a, and 18 additional credits, includ-
ing a minimum of 6 academic credits in courses outside the School of Art.

Typical Plan of Study

First Year, Minimum Credits
Course Fall-Term Credits Spring-Term Credits
ART 645, Individual Criticism 6 6
ART 630, Studio Seminar 3 3
Sculpture Elective 0 3
ART 949a, Critical Practice 3 0
Academic or Studio Electives 3 3
__ __
15 15

Second Year, Minimum Credits

Course Fall-Term Credits Spring-Term Credits
ART 645, Individual Criticism 6 6
ART 630, Studio Seminar 3 3
Academic or Studio Electives 6 6
__ __
15 15
 Areas of Study   23  

Lecture Program
Each department has its own visitors program in which professionals from outside the
School are invited to lecture or take part in critiques. There is also an all-school lecture
program in which ideas of general and cross-disciplinary importance are explored by
visiting artists and members of the faculty.

Exhibitions
The School of Art’s galleries in Green Hall and EIK at 32 Edgewood Avenue provide a
year-round forum for the exhibition of work by students, faculty, and special guests in the
four graduate departments of the School and the undergraduate program. Green Gallery
is open to the public daily from 12 noon to 6 p.m. when exhibitions are scheduled. EIK is
open during limited hours for specific exhibitions and events. Information: 203.432.2605.
Course Descriptions
Courses numbered 001 through 099 are o≠ered only to first-year Yale College students.
Courses numbered 110 through 499 are studio electives o≠ered to students from Yale Col-
lege, 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 o≠ered 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. 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 https://courses.yale.edu.

Critical studies
ART 949a, Diving into the Wreck: Rethinking Critical Practice  This mandatory course
for first-year M.F.A. students borrows its title from Adrienne Rich’s poem, written in
1973 at the beginning of the second wave of feminism, in the wake of the civil rights
movement, amid the student protests against the Vietnam War, and in reflection of the
poet’s own process of self-discovery and personal emancipation. As a work that focuses
on the isolation of life as it does on a sense of shared community, Rich’s poem brings
forth a perspective that there can be no understanding of the “wreck” without becoming
one with the wreck. The course explores how this self-motivated, even self-legislated,
impulse toward autonomy is mirrored within the very constitution of a work of art that
is bound by the dialectic between autonomy and dependence, individuality and collec-
tivity, randomness and resoluteness, expression and rationality. Taking Diving into the
Wreck as a point of departure, the course aims toward a cultivation of consciousness that
extends self-knowledge into a sense of community through the act of critical reflection.
The course adopts a lecture/seminar approach with additional breakout sessions. Stu-
dents are required to complete required readings, participate in class-wide discussions,
and develop the form of their writing as a method of engaging with the themes of the
course. Marta Kuzma and faculty

Graphic Design
ART 132a or b, Introduction to Graphic Design  A studio introduction to visual com-
munication with an emphasis on 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. Lab/materials fee: $150.
Henk van Assen and Yeju Choi
 Course Descriptions   25  

ART 264a or b, Typography!  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. Lab/materials fee: $150. Prereq-
uisite: ART 132. Alice Chung and John Gambell

ART 265b, Typography: Expression, Structure, and Sequence  Continued studies in

typography incorporating more advanced and complex problems. Exploration of grid
structures, sequentiality, and typographic translation, particularly in the design of con-
temporary books, and screen-based kinetic typography. Relevant issues of design history
and theory are discussed in conjunction with studio assignments. Lab/materials fee:
$150. Prerequisites: ART 132 and ART 264. Henk van Assen

ART 266b, History of Graphic Design This course studies how graphic design
responded to (and a≠ected) international, social, political, and technological develop-
ments from its inception in ancient Sumeria, Egypt, and China. Emphasis is on examples
of identity, persuasive messages, exhibition and environmental, information and data
visualization, typography and publication, and design theories from 1450 to 2010 and
the relationship of that work to other visual arts and design disciplines. In addition
to lectures, the course includes two studio projects in which design is integrated with
research and writing. Douglass Scott

ART 368a, Graphic Design Methodologies  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 indi-
vidual design methodology. Attention to systematic procedures, techniques, and modes
of inquiry that lead to a particular result. Lab/materials fee: $150. Prerequisites: ART 132
and ART 264, or permission of the instructor. Pamela Hovland

ART 369b, Interactive Design and the Internet  An introduction to programming and
design thinking for Web sites. This class introduces a variety of approaches to digital
design and publishing, not only through coding, but also through the use of other tools
and theoretical ideas. It also provides a historical and contemporary understanding of
the digital landscape. Instruction in HTML, CSS, JavaScript, and other related software.
No prior programming experience required. Lab/materials fee: $150. Prerequisite: ART
132 or permission of the instructor. Rosa McElheny

ART 370a, Communicating with Time, Motion, and Sound  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 juxtaposi-
tion. Lab/materials fee: $150. Prerequisite: ART 265 or ART 368, or permission of the
instructor. Christopher Pullman
26   School of Art, 2019–2020

ART 468a, Advanced Graphic Design: Series and Systems  This studio course asks how
individual designers can be idiosyncratic in the work that they produce, 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.
Lab/materials fee: $150. Prerequisites: ART 264 and ART 368, or permission of the
instructor. Julian Bittiner and Henk van Assen

ART 469b, Advanced Graphic Design: History, Editing, and Interpretation  A probe
into questions such as how artists can be present as idiosyncratic individuals in their
work, and how that work can still communicate on its own to a broad audience. Concen-
tration on making gra∞ti, i.e., the design of a set of outdoor marks and tours for New
Haven. A technological component is included, both in the metaphor of designing out-
door interaction as a way to learn about screen-based interaction, and in the final project
to design an interface for a handheld computer. Lab/materials fee: $150. Prerequisites:
ART 264 or ART 265, and ART 368, or permission of the instructor. Julian Bittiner and
Douglass Scott

ART 710a, Preliminary Studio  For students entering the three-year program. This pre-
liminary-year studio o≠ers 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

ART 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 [F], Paul Elliman, Geo≠
Han [Sp], Karel Martens, Manuel Miranda, Michael Rock, and Julika Rudelius

ART 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 propor-
tion of the work is self-motivated and self-directed. Sheila Levrant de Bretteville [F],
Irma Boom, Dan Michaelson, Sigi Moeslinger, Julika Rudelius, Susan Sellers, Masamichi
Udagawa, Linda van Deursen, and Ryan Waller
 Course Descriptions   27  

ART 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 [F], Dan Michaelson, and Susan Sellers

ART 740a, Intermediality: Typography, Motion, and Meaning  What does it mean to
be contemporary and what are the conditions of contemporaneity? How do we locate
our work relative to notions of intermediality, search, and buzz in a moment where one
assumes 24/7 interconnectedness across all media? As we become increasingly habitu-
ated to conditions of intermediality, the di≠erences between modalities appear to grow
ever thinner in exchange and expression, at the personal and the institutional levels.
Our design activities capitalize on media’s interdependence—explicit and implicit, one
to the other—as relevant vehicles of representation and signaling. We focus on the cor-
poreal intermediality of our bodies as media platforms where we understand our tools
as prosthetics to our eyes, ears, and mouths. We consider the circulation and motion of
the sign as it increases in velocity and replication via the logic of search in contrast to a
perhaps outmoded modern notion of uniqueness and aura. For our purposes, the aural
specificity of audio communication serves as the initial content source—the podcast as
delivery to conscious cognition. Tasked with selecting and researching content that has
invaded their being through their ears, students generate proposals exploring ideas and
positions from the class discourse combined with their individuated content. Students’
interpretations, understandings, and misunderstandings find form in “motion”—film,
video, gifs, glitches, animation, motion capture, puppets, etc. Narratives may be linear,
or not; iterative, exploratory, and just slightly o≠. Allen Hori and Geo≠ Kaplan

ART 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. Prerequisite: ART 749. Mindy Sen

ART 743a or b, Letterform Design  Type design is distinct from “lettering” in that it nec-
essarily 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
28   School of Art, 2019–2020

aesthetic issues presented by single letters. The class is taught with RoboFont, 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 the design. If appropriate to the project, students spend time
rendering letterforms by hand, investigating historical sources, or starting immediately
on screen. Tobias Frere-Jones, Matthew Carter, and Nina Stössinger

ART 744a, Moving Image Methods  This class explores the signature formal properties
and possibilities of video and provides critical frameworks for understanding moving
image work. A series of hands-on projects introduces video production techniques, with
a focus on accessible approaches over technically complex ones. Screenings from various
cinema and video art traditions provide context for these explorations and help guide
critique of the students’ own work. One thematic focus is on framing the everyday, the
overlooked, and the incidental, providing a useful bridge to some of the key concerns
of graphic design practice: how to direct attention, create emphasis, make manifest the
latent and the liminal. In addition to production strategies, the course o≠ers exercises that
focus attention on the act of attention itself, to investigate how video can augment and
transfigure the act of observation and uniquely represent what is observed. These exer-
cises build toward the completion of a larger video project incorporating the approaches
introduced throughout the term. Students gain the technical and critical facility to incor-
porate moving image work thoughtfully in their own design practices. Neil Goldberg

ART 745a, Total Typography  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; how-
ever, 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

ART 749a, Writing as Metalanguage  “Learning to code through reading and writ-
ing.” This studio course introduces fundamental concepts of programming for the web.
 Course Descriptions   29  

Students learn technical skills solely through the development of their own writing. The
course asserts that programs should be written not only for computers to process but also
for humans to read. While best practices are discussed, a variety of techniques that con-
sider craft, tone, and style—challenging the notion of a singular, universal method—are
discussed and explored. After being introduced to document structuring and semantic
HTML, students learn PHP through intensive writing exercises. In this course, writing
is considered a forward-facing web application, its constituent code, and the code’s anno-
tation as written for a future reader. The course is intended for first-year students with
little or no programming experience and is a prerequisite for ART 742. Laurel Schwulst

ART 751b, Print to Screen Workshop  This course investigates some of the unique chal-
lenges graphic designers face working across print and digital interfaces and the opportu-
nities for these two spaces to have a dialogue with each other. Students develop strategies
for creating coherent visual and conceptual relationships that bridge this divide. We look
at the history and influence of technology on graphic design and the diverse ways con-
temporary practice explores the virtual and the physical; and we consider how, in which
way, and if these spaces are indeed di≠erent. Among the questions we answer: How can
responsiveness translate to print? What is the digital equivalent of binding? Can a web-
site be a time-capsule? Can a book be refreshed? Meets six times per term. Ryan Waller

ART 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. ART
742 or similar experience is strongly recommended. Dan Michaelson

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

Master Classes in Graphic Design  These are one or two weeks in duration and gener-
ally 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, Enrique Ramirez, Michael Rock, and Masamichi
Udagawa. Students are admitted at the discretion of the instructor.
30   School of Art, 2019–2020

Painting/Printmaking
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 proj-
ects address fundamental technical and conceptual problems suggested by historical
and recent artistic practice. No prior drawing experience necessary. Open to all under-
graduates; required of all art majors. Lab/materials fee: $25. Christian Curiel, Matthew
Keegan, Troy Michie, Sophy Naess, Robert Storr, Anahita Vossoughi, Molly Zuckerman-
Hartung, 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. Required of painting concentration art majors. Lab/materials fee: $75.
Sophy Naess

ART 130a or b, Painting Basics  A broad formal introduction to basic painting issues,
including the study of composition, value, color, and pictorial space. Emphasis on obser-
vational study. Course work introduces students to technical and historical issues central
to the language of painting. No prerequisites; recommended for non-majors and art
majors. Lab/materials fee: $75. Robert Storr and Molly Zuckerman-Hartung

ART 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. Lab/materials fee: $75 per term. Pre-
requisite: ART 114 or equivalent. Troy Michie

ART 225a, Adventures in Self-Publishing  This course introduces students to a wide

range of directions and legacies within arts publishing, including the development of fan-
zines, artists’ books, small press comics, exhibition catalogs, “just in time” publications,
and social media. Students are given instruction in the School’s Printshop on various
printing and binding methods leading to the production of their own publications, both
individually and in collaboration. Attention is paid to ways artists’ publishing has been
used to bypass traditional cultural and institutional gatekeepers, to foster community
and activism, to increase visibility and representation, and to distribute independent
ideas and narratives. Students explore the codex as it relates to contemporary concepts of
labor, economics, archives, media forms, information technologies, and interdisciplinary
and social art practices. Supplemental readings and visits to the Haas Arts Library, the
Beinecke Library, the Yale Art Gallery’s prints and drawings study room, and the Odds
and Ends Art Book Fair provide case studies and key examples to consider. Prerequisite:
ART 111. Lab/materials fee: $150. Alexander Valentine

[ART 324b, Painting Materials and Methods  An introduction to historical materials and
methods of painting. Through the study of masterworks in the Yale Art Gallery and the
Center for British Art, and the application of observed techniques in student projects,
 Course Descriptions   31  

this course bridges the historical with the hands-on. Techniques include varieties of
slow-drying, indirect, layered oil painting, and modernist direct application of wet-in-
wet paint; supports include wood, canvas, paper, and metal. Recommended for both art
and history of art majors. Lab/materials fee: $75. Not o≠ered in 2019–2020]

ART 331b, Intermediate Painting  Further exploration of concepts and techniques

in painting, emphasizing the individuation of students’ pictorial language. Various
approaches to representational and abstract painting. Studio work is complemented by
in-depth discussion of issues in historical and contemporary painting. Lab/materials
fee: $150. Prerequisite: ART 130, ART 231, or permission of the instructor. Sophy Naess

ART 356a, Printmaking I  An introduction to intaglio (drypoint and etching), relief

(woodcut), and screen printing
(stencil), as well as the digital equivalents to each tech-
nique, including photo screen
printing and laser etching and/or CNC milling. Students
examine how these analog and
digital techniques inform the outcome of the printed
image as well as how they can be
combined to create more complex narratives. The class
culminates with the making of a unique object that integrates the above techniques and
evades traditional definitions of printmaking. Lab/materials fee: $150. Prerequisite: ART
114 or equivalent. Alexander Valentine

ART 432a, Painting Studio: The Narrative Figure  A course for intermediate and
advanced painting students exploring historical and contemporary issues in figurative
painting including portraiture, narrative, and history painting. Studio work is comple-
mented by in-depth study of the gaze, subjectivity, memory, and imagination. After
guided assignments, emphasis is on self-directed projects. May be taken more than once.
Lab/materials fee: $75. Prerequisite: ART 331, ART 332, ART 342, or permission of the
instructor. Meleko Mokgosi

ART 433b, Painting Studio: Space and Abstraction  A course for intermediate and
advanced painting students exploring historical and contemporary issues in abstract
painting including geometric, optical, material, and gestural abstraction. Studio work is
complemented by in-depth study of flatness, depth, color, authorship, and expression.
After guided assignments, emphasis is on self-directed projects. May be taken more than
once. Lab/materials fee: $75. Prerequisite: ART 331, ART 332, ART 342, or permission of
the instructor. Molly Zuckerman-Hartung

[ART 434a, Drawing Studio: Art of the Graphic Novel  A course for intermediate and
advanced drawing students exploring historical and contemporary issues in drawing
through the narrative of the graphic novel. Studio work is complemented by an in-depth
study of illustration, subjectivity, memory, and imagination. After guided assignments,
emphasis is on self-directed projects that will be combined into a graphic novel. May be
taken more than once. Materials fee: $75. Prerequisite: ART 114, ART 223, or permission
of the instructor. Not o≠ered in 2019–2020]

ART 457b, Interdisciplinary Printmaking  An in-depth examination of planographic

techniques including screen printing,
lithography, and digital pigment printing. These
techniques are examined in relation to
more dimensional forms of printing such as col-
lography, embossment, vacuum bag
molding, and 3-D printing. We make editions as
32   School of Art, 2019–2020

well as unique objects, focusing 
on individual techniques as well as on creating hybrid
forms. Recommended to be taken concurrently with ART 324 or ART 433. Lab/materi-
als fee: $150. Prerequisite: at least one term of printmaking. Open to all M.F.A. students.
Alexander Valentine

ART 510 a and b, Pit Crit  Pit crits are the core of the program in painting/printmaking.
The beginning of each weekly session is an all-community meeting with students, the
DGS, graduate coordinator, and those faculty members attending the crit. Two hour-long
critiques follow in the Pit; the fall term is devoted to developing the work of second-year
students and the spring term to first-year students. A core group of faculty members as
well as a rotation of visiting critics are present to encourage but not dominate the con-
versation: the most lively and productive critiques happen when students engage fully
with each other. Be prepared to listen and contribute. Note: Pit crits are for current Yale
students, sta≠, and invited faculty and guests only; no outside guests or audio/video
recording are permitted. Anoka Faruqee and faculty

ART 516a, What Is Color?  We start with biology—the human body, its colors, and its
ability to sense color—and then move on to chemistry and physics, examining whether
color is inherent in objects or in light or in the mind: is a blue object bluer when perceived
outside Earth’s atmosphere? We study the ways in which colorists before us have sys-
tematized and rationalized color given their own technological or philosophical context
and ponder which is the best way for each of us to think about color and utilize it in our
work. We are bound to bump up against the cultural and psychological contexts of color
and how language itself a≠ects our perception of color. How comprehensively are we to
take the whiteness of Melville’s whale? What does Wittgenstein have to say about the
relative brightness of the blue sky versus a blank white canvas under that same open sky?
What is the di≠erence between purple and violet? This course is bound to generate more
questions than it can answer; it is open to those working in all subject areas but is taught
from the point of view of a painter. Meets six times for 1.5 credits. Byron Kim

[ART 540a, Drawing Precedents  Why draw? Where does our impulse to draw and our
particular way of making come from? With a focus on how time is a relevant factor in
how we make and think about constructing a drawing, the class is invested in exploring
the benefits of collaborative art making. This is a hands-on class where “making” is a pre-
mium component. Collaboration, portraiture, and moving image are three components
around which the class is structured. Not o≠ered in 2019–2020]

ART 545, Individual Criticism  Limited to M.F.A. painting students. Criticism of indi-
vidual projects. For second-year students, 1.5 units of Individual Criticism will take the
shape of a thesis workshop in the fall term. Anoka Faruqee, Matthew Keegan, Troy
Michie, Sophy Naess, Robert Storr, Molly Zuckerman-Hartung, and faculty

ART 546b, Round Trip: First-Year Crits  A course required of all incoming M.F.A. stu-
dents in the painting/printmaking department to unpack, denaturalize, and slow down
our making and speaking practices as a community. The course hopes to bridge the
intensities characteristic of our program: the intensity of the private studio with the
intensity of the semi-public critique. We ask crucial questions about the relationships
between form and content, between intents and e≠ects, between authorship, authority,
 Course Descriptions   33  

and authenticity, between medium specificity and interdisciplinarity, and between risk
and failure. How can our ideas and language be tested against the theories of the past and
present? Existential, spiritual, and market-based goals (both internal and instrumental
motivations) for art making are explored. Meetings alternate between group critique
and reading discussion, supplemented by a series of short writing exercises. Enrollment
is limited to incoming students in the department, but readings and concepts are shared
widely. Anoka Faruqee and Molly Zuckerman-Hartung

ART 550b, Projections of Print  This course is intended for M.F.A. 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
su∞cient technical background in traditional printmaking mediums (etching, lithogra-
phy, silkscreen, or relief ) as well as a fundamental understanding of graphic programs
such as Photoshop. Demonstrations in traditional mediums are o≠ered in the print stu-
dio. Alexander Valentine

[ART 574a or b, Defining Our Terms  This seminar combines readings selected by the
instructor, readings suggested by the members of the class, short written presentations
to the whole class by students, close reading of specific works of art, synoptic study of
various art historical movements and tendencies, and a collective e≠ort to find agreement
on the current meaning of commonly used art terminology in order to foster focused and
sustained critical discussion of issues crucial to artists coming into their own. Nothing
is taken for granted; nothing is beyond consideration. Students must examine what it
takes to form and hold an aesthetic or critical “position” in the world, while also weigh-
ing the costs of being committed to and perhaps trapped in such a position. The overall
goal is to find our own words for the things we do while getting a better handle on how
others speak about the work we make—and why they choose to speak in those ways. Not
o≠ered in 2019–2020]

ART 576a and b, Isms and Wasms: A Thumbnail History of Modern (and Anti-Modern)
Art from the “Mainstream” to the Delta  In a scant two terms, this course covers a lot of
ground temporally, geographically, and artistically. Its purpose is to familiarize emerging
artists of today with some of the principal tendencies, protagonists, and practices that set
in motion the currents and counter-currents of visual art—chiefly painting, sculpture,
printmaking, photography, installation, performance, and conceptual work—from the
late-nineteenth to the early twenty-first century. It involves extensive looking, select
reading (much of it texts by artists,) some lectures combined with focused seminar-
style discussion (you’ve got to say-to-play), some writing and drawing, and above all
mental agility (park your intellectual assumptions, cultural prejudices, and aesthetic as
well as anti-aesthetic “taste” at the door). Are you sure you know what Walter Benjamin
meant by “aura”? Does an artist’s “identity” or biography a≠ect interpretation of their
work, and if so in which cases and to what extent? What do you think about “bad”
people making “good art”? Who’s your favorite academic artist, Realist, Impressionist,
Post-Impressionist, Cubist, Futurist, Constructivist, Expressionist, Surrealist, mural-
ist, Abstract Expressionist, Informel artist, Neo-Dadaist, Pop artist, Minimalist, Gutai
artist, member of Spiral, Queer artist, New York Conceptualist, Continental European
34   School of Art, 2019–2020

Conceptualist, Russian Conceptualist, Contemporary “Global” Misconceptualist? And

why? Fasten your seat belts: it will be a bumpy ride. Students are encouraged to take
both terms successively; however, with permission of the instructor, other arrangements
are possible. Robert Storr

ART 577a, When Attitude Becomes Form (Thesis Workshops)  Required of all second-
year students in painting/printmaking, this course meets biweekly in the fall and sup-
ports the development of discursive and collaboratively conceived thesis exhibitions in
the spring. We examine historic and recent group exhibitions—including their contex-
tualization through writing—as a platform for discussion, writing exercises, and group
critique. Special guest artists and curators provide insight into their own curatorial objec-
tives and concerns. We consider a series of topics that have arisen in exhibition making
since Szeemann’s 1969 exhibition, When Attitudes Become Form, including the exhibition
of process or time-based work, theatricality, “networked painting,” expanded platforms,
artists’ statements and press releases, and more. Enrollment limited to second-year
students in painting/printmaking. 1.5 credits. Sophy Naess

[ART 579b, One Divides: Gender Dialectics  This course situates the body marked by
gender as a political body by replacing gender binaries with a dialectical approach. We
examine gender as a construction that, through the surplus caused by signification,
exceeds biological sex. Beginning with the contributions of feminist artists in the 1960s
and ’70s and moving to the present, we observe the ways in which the introduction of
gender as a subject destabilizes sex, providing the groundwork for understanding gender
within the symbolic and imaginary. However, our analysis of gender is not confined to
the representation of gender in works of art, or even to gender in the larger field of artistic
discourse, but rather is concerned with the role of gender in forming any political subject.
Meets biweekly for 1.5 credits. Not o≠ered in 2019–2020]

ART 596b, Alternative Nation  2018 marked the ten-year anniversary of the closing of
Orchard, an artist-run space made up of visual artists, filmmakers, writers, art historians,
and curators situated in New York’s Lower East Side for a three-year period. Members
of Orchard joined forces in response to the presidency of George W. Bush and the early
years of the Iraq War. An investment in institutional critique—an artistic strategy aimed
at exposing and dismantling dynamics of power at play in art museums, universities,
and markets—was central to Orchard’s programming. It sought to present an alternative
to extant programming and the dominance of commercial galleries in NYC. Orchard
serves as a point of departure for this term-long seminar that more broadly considers
what might constitute an “alternative space” in our current moment. A≠ordability crises
have made it di∞cult for artist-run spaces, small to mid-sized commercial spaces, and
artists for that matter, to a≠ord rents in New York and other major North American cit-
ies. Together, we consider whether and when the goal of a fixed physical space remains
relevant in light of more accessible and even distributable models. Working as a group,
we brainstorm exhibition/programmatic/publication-based possibilities that are acces-
sible domestically and abroad while clearly articulating an intended audience. Class time
is divided between discussions of the readings, presentations by members of the seminar,
in-class guest speakers, and a collaborative final assignment. Matthew Keegan
 Course Descriptions   35  

Photography
ART 136a or b, Black-and-White Photography: Capturing Light  An introductory
course in black-and-white analog photography concentrating on the use of 35mm cam-
eras. 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. Lab/materials fee: $150. Lisa Kereszi and Ted
Partin

ART 138a or b, Seeing in Color with 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. Enroll-
ment limited. Lab/materials fee: $150. Ted Partin

ART 237a, Intermediate Black-and-White: Visual Voice  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 pho-
tography, 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. Lab/materials fee: $150. Prerequisite: ART 136 or equiva-
lent. Lisa Kereszi

ART 239a, Introduction to Visual Storytelling  An introductory course that explores the
various elements of photographic storytelling, artistic styles, and practices of successful
visual narratives. Students focus on creating original bodies of work that demonstrate
their unique artistic voice. Topics include camera-handling techniques, photo editing,
sequencing, and photographic literacy. Student work is critiqued throughout the term,
culminating in a final project. Through a series of lectures, readings, and films, students
are introduced to influential works in the canon of photographic history as well as issues
and topics in contemporary photography. Lab/materials fee: $150. Prerequisite: ART
136 or ART 138. Danna Singer

[ART 337a, Picturing Us: Representation  Photographic investigation of the politics of

visibility and intersectionality, the social processes in which identities are formed and
revised. Exploration of the constructions of race, gender, sexual orientation, nationality,
36   School of Art, 2019–2020

citizenship, ethnicity, religion, and class. Students study problems through photography,
including concepts of identity and the construction of identities; how some identities
appear invisible, visible, or super-visible; and which identities speak authentically and
also universally. Lab/materials fee: $150. Prerequisite: ART 136, or ART 138, or equiva-
lent. Not o≠ered in 2019–2020]

ART 338b, Contemporary Problems in Color with 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.
Lab/materials fee: $150. Prerequisite: ART 138. Danna Singer

[ART 339b, Narrative Forms and Documentary Style in Photography after 1967 Focus-
ing on the wildly diverse and enduring influence of artists engaging with photography
from “New Documents” to the “Pictures Generation,” converging on the current “digital”
moment. This class presents a series of lectures, readings, and assignments designed to
develop and challenge critical, historical, and visual thought while generating individual
projects throughout the term. Lab/materials fee: $150. Prerequisite: ART 136, or ART
138, or equivalent. Not o≠ered in 2019–2020]

ART 379b, Form for Content with the View Camera  A course for experienced photog-
raphy 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 sig-
nificant historic photographic traditions is covered. Students are encouraged to employ
any previous digital training although class is primarly analog. Lab/materials fee: $150.
Prerequisite: ART 237 or permission of the instructor. Benjamin Donaldson

ART 401a, Advanced Projects in 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 photogra-
phy, color photography, video, and the assimilation of the three. Lab/materials fee: $150.
Prerequisites: ART 379 or equivalent, and, for those working digitally, ART 338. Required
of art majors concentrating in photography. Lisa Kereszi

ART 802b, Between Frames  A broad survey of narrative, documentary, and experimen-
tal film (and television) exploring influence and overlap within traditional visual art
genres: sculpture, painting, performance, installation, etc. Screenings and discussions
examining a variety of moving image histories, practices, and critical issues. The class
also reserves time for screening student works in progress, with special consideration
given to the presentation of installations and/or site-specific work. Weekly screenings
may also be open to nonregistered students with permission of the instructor. John Pilson

ART 822a, Practice and Production  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
 Course Descriptions   37  

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

ART 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.
Jennifer Blessing, Roxana Marcoci, and Nancy Spector

[ART 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 perspec-
tive 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. Not o≠ered in 2019–2020]

ART 825b, What Makes a Book Work?  Open to second-year students only. This class
surveys the landscape of the contemporary photobook with a focus on producing a class
book. Lesley Martin

ART 828, Issues in Contemporary Photography  A full-year course for first-year pho-
tography 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 filmmak-
ers talk about their work in the context of the discussions at hand. Gregory Crewdson

ART 830a, Art Is Fiction  Words make images, and images excite words. In this writ-
ing workshop/seminar, students think about the craft of writing, the choices a writer
must make, and how a writer makes decisions. How do these decisions help a visual
artist approach the making of art? Those decisions sometimes align with those a visual
artist faces, but di≠erently. The space on a page, the way a paragraph works, the length
38   School of Art, 2019–2020

of a sentence (or line), the placement of one thing next to another, and how meaning is
constructed through those abutments. In writing it is only words, but again words make
images. In this course we discuss narrative and various approaches to it, read published
stories and discuss how they are made, and also write our own. This is a doing and think-
ing and analyzing course. Meets six times for 1.5 credits. Lynn Tillman

ART 845, Individual Criticism  Limited to graduate photography students. Ongoing

work is reviewed at weekly seminar meetings and privately. Gregory Crewdson and
faculty

Sculpture
ART 110a, Sculpture Basics  The concepts of space, form, weight, mass, and design in
sculpture are explored and applied through basic techniques of construction and mate-
rial. 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 120, ART 121, ART 122, or ART 125. Enrollment limited to twelve. Lab/materi-
als fee: $150. Sandra Burns

ART 120b, Introduction to Sculpture: Wood  An introduction to wood and woodwork-

ing 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. Lab/materials
fee: $75. Elizabeth Tubergen

ART 121a, Introduction to Sculpture: Metal  An introduction to working with metal

by examining the framework of cultural and architectural forms. A focus is the compre-
hensive application of construction in relation to concept. The class o≠ers 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. Lab/materials
fee: $75. Brent Howard

[ART 122b, Introduction to Sculpture: Video  An intensive investigation of time-based

works through such mediums as performance, video, installation, and sound. Emphasis
placed on the integration and manipulation of mediums and materials to broaden the
historical context. Critiques, readings, video screenings, and artist lectures consider how
the history of time-based works informs a contemporary practice. Frequent workshops
complement the studio work. The shops and studios are available during class time and
during days and evenings throughout the week. Enrollment limited. Lab/materials fee:
$150. Not o≠ered in 2019–2020]
 Course Descriptions   39  

[ART 125a, Introduction to Sculpture: Mold Making  This course o≠ers 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. Lab/materials fee: $75. Not o≠ered in 2019–2020]

ART 346a, Dematerial/Material  Exploration of questions and topics pertinent to con-

temporary sculpture through making, writing, reading, looking, critique, discussions,
and field trips. Projects become increasingly self-directed as students develop relation-
ships to materials, techniques, and ideas both familiar and new. Enrollment limited to
twelve. Lab/materials fee: $75. Prerequisite: ART 120, ART 121, ART 122, or equivalent,
or permission of the instructor. Elizabeth Tubergen and faculty

ART 348a, Body, Space, and Time  Exploration of time-based art mediums such as
moving-image work, performance, sound, and installation, with emphasis on the inte-
gration and manipulation of di≠erent mediums and materials. Ways in which the history
of time-based works informs contemporary practice. Individual studio projects as well as
workshops in the use of various processes, practices, and techniques. Enrollment limited
to twelve. Materials fee: $75. Prerequisite: ART 122 or permission of the instructor. Aki
Sasamoto

ART 371b, 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.
Lab/materials fee: $75. Martin Kersels

[ART 446a, 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 lim-
ited to twelve. Open to M.F.A. students. Lab/materials fee: $75. Prerequisite: ART 345
or ART 346 or equivalent, or permission of the instructor. Not o≠ered in 2019–2020]

ART 630, Studio Seminar  Limited to M.F.A. sculpture students. Critique of sculpture,
time-based media, and ungainly projects. Students present their work in two venues.
Throughout the year a full ensemble of the sculpture faculty and students meet weekly
for critiques in which each student’s work is reviewed at least once per term. In addi-
tion, during the fall term only, a more intimate in-depth weekly critique takes place in
two sections, each limited to eleven students and led by either Martin Kersels or Sandra
Burns. There is no singular focus in this smaller critique, as the balance of pragmatic and
conceptual considerations surrounding the work is examined and discussed in a fluid
40   School of Art, 2019–2020

way depending on the work at hand and the intent of the artist. Martin Kersels, Sandra
Burns, and faculty

ART 645, Individual Criticism  Limited to M.F.A. sculpture students. Criticism of indi-
vidual projects. Martin Kersels, Sandra Burns, Brent Howard, Elizabeth Tubergen, and
faculty

[ART 657b, The Robot in the Mirror: On Lacan and the Digital Whirlpool  This inten-
sive course focuses on Jacques Lacan’s essay on the mirror stage and the ways his ideas
may illuminate our relationship with virtual space. We read and discuss, in order to think
through the implications of recontextualizing psychoanalytic ideas within our shared
technological spectacle. Enthusiastically cognizant of our position as absolute beginners,
we avoid the pitfalls of high theory, choosing instead to ground ideas in lived experiences.
With this intention, we consider girl robots in recent popular culture, regarding them
as propositions for an understanding of subjectivity and the body in space. Be prepared
to read intensely and talk passionately. A final project that reflects some of these ideas is
required. The project can take any form: sculpture, video, written text, etc. Not o≠ered
in 2019–2020]

[ART 659a, What It’s Like to Be a Thing: How the Experience of Things Influences
Their Making  This class explores ideas about objecthood and process through readings
on environmental philosophy and artists whose work has been defined with posthuman
studies. The term is divided between activity-based field trips and readings, discussion,
writing, and critiques. These di≠erent course experiences serve as a lens for investigating
how to make artistic practices interrogate what it means to be human and speculate on
the reality of things that interact with and perceive one another, invisibly and every day.
Not o≠ered in 2019–2020]

ART 666a, X-Critique  A critique course focusing on time-based and other ungainly
works. Students present their work during class time and have the opportunity for an
in-depth critique and discussion about their pieces. There is no singular focus in this
critique, as the balance of pragmatic and conceptual considerations surrounding the work
is examined and discussed in a fluid way depending on the work at hand and the intent of
the artist. Enrollment limited. Priority given to those who are able to present their work
early in the term; please come to the first class ready to discuss the work you propose to
show. Permission of the instructor required. Martin Kersels

ART 670a, Speculative Ecologies: Performing Sculpture  This course imagines sculp-
ture, performance, and writing as entangled choreographic practices. These encounters—
conceptual, material, somatic—unfold through individual and collaborative projects,
conversations, writing, and deep research that trespass from sculpture to science fiction,
cinema to landscape, punk rock to theory, dance to poetics, history to utopia. Ecologi-
cal thinking demands relation, proposing an intimate connection between theoretical
trajectories and individual praxis. Expanding our repertoire of performance and writing
techniques, we experiment with improvisation, Action Theater, Authentic Movement,
somatic and movement-based practices di≠racted through texts by Fred Moten, Karen
Barad, Carolyn Christov-Bakargiev, Paul Preciado, Denise Ferreira da Silva, Hortense
 Course Descriptions   41  

Spillers, Claudia Rankine, Maggie Nelson, Danh Vo, and La Ribot, among others,
to engage possibilities for critical making and thinking. Permission of the instructor
required. Jenn Joy

ART 671b, Materials and Facture  This class focuses on the hands-on specifics of sculp-
tural practice as well as the critical discourse surrounding issues of facture and materiality
in three dimensions. The class explores the multiple media and techniques in the lexicon
of contemporary sculpture while being informed by various readings and writings by
artists, critics, and theorists, so as to map out and delve into the conceptual and physical
aesthetics of “why” and “how” works are conceived and actualized. In addition to field
trips to working art foundries, material mills, and museums and galleries, the class par-
takes in an iron pour. Brent Howard

ART 674a, Practicing Process: Remapping Destinations and Outcomes  This course
is centered on the nature of what could be termed “process” in art-making practice and
problem solving. It involves examination and discussion of said process as it relates to
time, speed, access, and subverting the role of expectation and “execution” in making and
thinking. The nature of speed with regards to technology is a known and traveled path.
The tools surrounding this phenomenon include prostheses ranging from improved
tools, machinery, and casting methods, to digital scanning and production technologies,
and even remote imaging and satellite navigation. The promise of this speed as it relates
to e∞ciency in the name of progress could be said to be increasing at an alarming rate.
With these enhanced tools for art making and art thinking, however, might it be pos-
sible to imagine an increase in opportunities to consider alternative outcomes and follow
innovative and unexamined combinations and pathways toward problem solving? What
does this mean to us and where do we situate our own practices (art and otherwise)
with regard to expectation and initially charted routes? Using a backdrop of geologic
deep-time to both locate us and serve as a foil to this illusion of speed and access, we
meet in and (primarily) outside of the studio/classroom to see a variety and range of
unconventional makers and problem solvers. Involving field trips and two presentations,
the course is discursive with attention paid to research and observation. Emphasis is
placed on developing strategies for observing and improving nonlinearity in art making
and problem solving through active engagement with one’s own processes. Michael Joo

ART 687b, Actions: Let’s Start with the Body  In this performance workshop/semi-
nar we look to the body (our bodies) as a way of understanding the material world,
as a means of production, and as a potential subject. Through readings, screenings,
and experiments, we examine perception, the senses, time and consciousness, our rela-
tionship to both natural and constructed space, interaction with other bodies, and the
metaphoric body—political and biological. This class aims to encourage development of
individual performative methodologies to inform (and perhaps alter) the nature of each
student’s current artistic practice. With an expansive definition of performance—actions
in any medium—students conceptualize and realize several short projects. Writers and
artists whose work we consider include Maurice Merleau-Ponty, Beatriz Colomina, Paul
McCarthy, Jeremy Deller, William Pope.L, Derek Jarman, Yayoi Kusama, Christian Rizzo,
and Louise Bourgeois. Meets biweekly for 1.5 credits. Melinda Ring
42   School of Art, 2019–2020

Interdisciplinary/Film/Video
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 of all art majors. Lab/materials fee: $25. Alexander
Valentine and Anahita Vossoughi

ART 142a or b, 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.
Lab/materials fee: $150. Sandra Luckow

ART 145a, Introduction to Digital Video  Introduction to the formal principles and
basic tools of digital video production. Experimental techniques are taught alongside
traditional HD camera operation and sound capture, using the Adobe production suite
for editing and manipulation. Emphasis on individual and collaborative assignments
that explore the visual language and the spatial and visual aspects of the medium rather
than the narrative. Screenings from video art, experimental film, and traditional cinema.
Enrollment limited. Lab/materials fee: $150. Neil Goldberg

ART 184b, 3-D Modeling for Creative Practice  3-D modeling has become an important
tool for all kinds of uses, from visualizing architecture, 3-D printing models and parts,
testing spatial configurations, and seamlessly integrating virtual objects with photo-
graphic images. This class is devoted to learning the tools and techniques of 3-D model-
ing in the context of a creative and critical art-centered discourse. Our principal software
is Maya, but we incorporate Photoshop as well. Lab/materials fee: $150. Justin Berry

ART 185b, Principles of Animation  This course examines the physics of movement in
animated moving-image production, emphasizing historical and theoretical develop-
ments in twentieth- and twenty-first-century animation as frameworks for the produc-
tion 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. Lab/materials fee: $150.

ART 241b, 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. Lab/materials fee: $150. Priority to art
and film studies majors. Prerequisite: ART 142. Sandra Luckow
 Course Descriptions   43  

[ART 285b/925b, 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 E≠ects, and Maya 2012. Lab/mate-
rials fee: $150. Prerequisite: ART 111, ART 114, or ART 145. Not o≠ered in 2019–2020]

ART 288b, The Itinerant Image across Media  Today we live in a world dominated
and defined by the mechanisms through which we view it, whether that is social media,
airport face-scanning software, fingerprint detection, motion capture, or smartphones.
What are all of the ways that we are seen by the world and through which we see the
world? When we change the way we see the world, the world we see changes. In this
course we explore what it means to make imagery and create pictures or objects that
capture the world using means other than the camera. Screen captures, hi-resolution
scans, 3-D scans, microscopes, telescopes, and sensors of all types are tools for “seeing”
the world in di≠erent ways. Lab/materials fee: $100. Justin Berry

ART 294a, Technology and the Promise of Transformation  Inherent transformative

qualities are embedded within technology; it transforms our lives and the way we
perceive or make art, and conversely, art can reflect on these transformations. Students
explore the implementation of technologies in their art making from pneumatic kinetics,
to bioengineering, and works assisted by artificial intelligence—modes of production that
carry movement, degradation, and displacement of authorship. The student practice is
supported by readings, independent research, and essays on diverse artists and designers
who make use of technology in their work or, on the contrary, totally avoid it. Lab/
materials fee: $150. Prerequisite: ART 110, ART 111, ART 120, or ART 121. Antoine Catala

ART 301b, Critical Theory In and Out of the Studio  This course introduces students to
key concepts in modern critical theory and examines how these ideas can aid in the analy-
sis 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.
Lab/materials fee: $25. Jonathan Weinberg

ART 341b, Intermediate Film Writing and Directing  In the first half of the term, stu-
dents 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, stu-
dents, working collaboratively, produce their films. Focus on using the tools of cinema
to tell meaningful dramatic stories. Lab/materials fee: $150. Prerequisite: ART 142.
Jonathan Andrews

ART 342a, 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
44   School of Art, 2019–2020

are scrutinized using examples of the students’ work. The term begins with exercises in
storytelling principles and progresses to students’ short projects. Lab/materials fee: $150.
Prerequisite: ART 142. Sandra Luckow

ART 388a, Edging Temporality: Screen, Picture, Image  Screen-based works—film,

video, television, projection, and computer technologies—embody heuristic techniques
that formulate, propagate, and disseminate experience, information, and knowledge to
viewers. The screen, picture, and image are interdependent components of moving-
image production—at once, intra-active, interactive, interdependent, and interwoven.
This course analyzes and implements the practical application of screen content produc-
tion, while exploring the tangible, fungible, and palpable intermix of a≠ect and e≠ect of
these two-dimensional surfactants. Working within the terms of Susan Sontag’s proposal
of an “ecology of images,” as outlined in her 1977 seminal work, On Photography, we
experiment within an environment in which producers are repatriated as actants-in-
presentia. Analysis and diagnosis of our moving image-laden condition strive toward
an understanding of where we are and, perhaps, where we are to go. Lab/materials fee:
$150. Prerequisites: ART 138, and ART 142 or ART 145, or permission of the instructor.
A.L. Steiner

ART 395a, Junior Seminar  Ongoing studio projects discussed and evaluated with an
emphasis on their relationship to contemporary issues in art, criticism, and theory. Read-
ings, 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
of all art majors. Jonathan Weinberg

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, produc-
tion 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 art and
film studies majors. Lab/materials fee: $150. Prerequisite: ART 341. Jonathan Andrews

[ART 449a, Landscape as Cinema  This seminar explores di≠erent configurations of

landscape structure and anticipates a cinematic experience of power and delusion through
hysteria. We look at four centuries of domain, range, park, folly, and garden design as
cinematic subtext. We consider film as the fluent medium of fecund (mostly mystical)
nature, and landscape as a persistent and recurring seam between formalism and natu-
ralism itself. Landscape as a perverse instrument of cinematic pleasure through control
makes way for political and industrial spectacles to come. This seminar is designed as a
cross-disciplinary hybrid. Students should be somewhat fluent in visual and narrative
history, but, more importantly, be able to digress topically without anxiety. Film expertise
is not required. Some understanding of the art of the past five hundred years would be
helpful. Contemporary artists are a constant point of reference throughout the class. Lab/
materials fee: $150. Not o≠ered in 2019–2020]
 Course Descriptions   45  

[ART 450a, Interiors as Cinema  This class, an extension of ART 449, reconsiders both
the “studio” in the history of the moving image and our understanding of “interiors” as
described by film. The Black Maria, the first motion picture studio in the United States,
was invented by Thomas Edison in 1893. This tar-papered “studio” looked like a small
house and was rotated by horse to catch the best light of the day for filming. This unfixed
interior at the origin of the moving image is our chimerical inspiration throughout the
term, and our final collective project involves reconstructing this studio and shooting
something therein. Film expertise is not required. Some understanding of the art of the
past five hundred years is helpful. Contemporary artists are a constant point of reference
throughout the class. Lab/materials fee: $150. Not o≠ered in 2019–2020]

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 prepa-
ration 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. Lisa Kereszi and Corey McCorkle

[ART 871b, Workerism  This course traces the trajectories within and around contem-
porary notions of art and labor. Beginning with the advent of the Federal Art Project and
the Artists’ Union during the New Deal, moving through the developments and permu-
tations of national and international activist labor organizations through the twentieth
and twenty-first centuries, the course explores the multifaceted ideologies and theories
of wage-based labor, cognitive and a≠ective labor, post-workerism, and de-growth. We
utilize analysis and research regarding the terms of precarity, labor practices, economic
exchange, cultural capital, and class consciousness within the stream of production, spec-
ulation, competition, spectacle, and demand. Incorporating weekly readings, lectures,
and discussion, the course requires a final ten-page paper and a visual presentation that
expands upon the course materials and student research. Not o≠ered in 2019–2020]

[ART 910b, Screen Space  A weekly studio and seminar at the intersection of art and
engineering. The course explores how the dynamic architecture of screen and projector
can be understood as a site of creative work. Readings and lectures address the evolu-
tion of screen and projection technology in the twentieth century. Topics include white
light, screens and masks, subtractive and additive color, and digital projection. For the
final project, students design and build a projection machine that explores the potential
aesthetic language of light, form, color, and motion. Not o≠ered in 2019–2020]

ART 951b, Video Seminar  This seminar focuses on facilitating the work of M.F.A. stu-
dents 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
46   School of Art, 2019–2020

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 973b, What Is/Isn’t Art?  What are/aren’t we talking about when we talk about art?
For most modernists the story of modern art is that of the distillation and di≠erentiation
of mediums; for postmodernists the main events concern the diversification and mis-
cegenation of means and formats. In six sessions that combine lectures by the seminar
leader, outside reading, and group discussion, this class both mixes it up and sorts it
out with a view to clarifying basic questions about what painting is and isn’t, or rather
about what it once was and what it has become. The seminar is primarily open to M.F.A.
students, but others who are interested may apply and will be admitted as space permits. Not
o≠ered in 2019–2020]

Yale College First-Year Seminars

Enrollment limited to first-year Yale College students. Preregistration required through
the First-Year Seminar Program.

[ART 003a, 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 etymo-
logical core, evocative connotations, colloquial nuance, and semantic role in di≠erent
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. Not o≠ered in 2019–2020]

ART 004b, Words and Pictures  Introduction to visual narration, the combination of
words and pictures to tell a story. Narrative point of view, counternarrative and counter-
culture, visual satire, personal history, depictions of space and time, and strategies and
politics of representation. Sources include illuminated manuscripts, biblical paintings,
picture-stories, comic strips, and graphic novels. Halsey Rodman

ART 006b, Art of the Printed Word  Introduction to the art and historical develop-
ment of letterpress printing. Examination of typographic design, the evolution of pri-
vate 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. Richard Rose

ART 007b, Art of the Game  An introduction to interactive narrative through video game
programming, computer animation, and virtual filmmaking. Topics include interactive
storytelling, video game development and modification, animation, and virtual film pro-
duction. Students produce a variety of works including web-based interactive narratives;
collaboratively built video games; and short, game-animated films (machinima). Course
work surveys a variety of tools including 3-D modeling, animation, and nonlinear narra-
tive scripting tools, as well as Adobe Flash, Processing, and Unity 3-D game development
platforms. Sarah Stevens-Morling
 Course Descriptions   47  

ART 012b, On Activism: The Visual Representation of Protest and Disruption An

introduction to the visual representations of protest, struggle, and revolution in this
country from the Vietnam War to the present moment. The course explores a range
of historically significant social and political movements, visual (communication) and
dissemination strategies, and working methods. The primary goal is to investigate and
expand the designer/artist’s ability to express a point of view and transform contempo-
rary understanding of local and national issues through a series of exercises, iterative
making, and experiments in distribution methods via solo and collaborative work. The
students’ practice is supported by close readings, independent research, case studies, field
trips, and presentations from a diverse collection of people directly involved in activism.
Pamela Hovland

ART 013a, Temperamental Spaces  Spaces can sometimes appear as idiosyncratic as the
people within them, taking on characteristics we usually ascribe to ourselves. They can
appear erratic, comforting, uncanny, even threatening. Working like a therapy session for
architecture, the body, and the objects around us, this seminar analyzes a diverse collec-
tion of readings and works, ranging from Renaissance mysticism to conceptual art and
film, to explore how the visual arts have utilized a productive, but skeptical, relationship
with space. Markus Schinwald

ART 014a, Research in the Making  Artistic research expands the research form to focus
on haptic and tactile study of physical and historical objects. Through field trips to vari-
ous special collections and libraries, including the Beinecke Library and the Yale Art
Gallery, students respond to specific objects in the vast resources of Yale University.
Group discussions, lectures, and critiques throughout help foster individual projects.
Each student conducts research through the artistic mediums of drawing, photography,
video, and audio, slowly building an interconnected collection of research that is also an
artwork. Karin Schneider

Yale College Art Major

Director of Undergraduate Studies: Lisa Kereszi

Yale College, the undergraduate division of Yale University, o≠ers 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. Sug-
gested program guidelines and specific requirements for the various areas of concentra-
tion 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 O∞ce of Undergraduate Admissions, PO Box 208234, 38 Hill-
house Avenue, New Haven CT 06520-8234, 203.432.9300 (https://admissions.yale.edu).
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 disci-
plines, 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 o≠er increasingly intensive study leading to greater specialization in one or
48   School of Art, 2019–2020

more of the visual disciplines such as graphic design, painting/printmaking, photogra-

phy, filmmaking, and sculpture/4-D.
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 111) and Basic Drawing
(ART 114) 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 prereq-
uisite courses at the 100 level (including Visual Thinking and Basic Drawing); (2) four
200-level and above courses; (3) the Junior Major Seminar (ART 395) and/or Critical
Theory in the Studio (ART 301); (4) the two-credit Senior Project (ART 495 and ART
496); 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 vari-
ous areas of concentration are available from the director of undergraduate studies. A
suggested program guideline is as follows:

First year Studio courses, two terms

Sophomore year Studio courses, three terms
HSAR, FILM, or other visual culture elective, one term
Junior year Studio courses, three terms including the Junior Major Seminar
and/or Critical Theory
HSAR, FILM, or other visual culture elective, one term
Senior year Studio courses, four terms including the yearlong Senior Project

Undergraduate studio courses open to students in Yale College

ART 004, Words and Pictures
ART 006, Art of the Printed Word
ART 007, Art of the Game
ART 012, On Activism: The Visual Representation of Protest and Disruption
ART 013, Temperamental Spaces
ART 014, Research in the Making
ART 110, Sculpture Basics
ART 111, Visual Thinking
ART 114, Basic Drawing
ART 116, Color Practice
ART 120, Introduction to Sculpture: Wood
ART 121, Introduction to Sculpture: Metal
ART 130, Painting Basics
ART 132, Introduction to Graphic Design
ART 136, Black-and-White Photography: Capturing Light
ART 138, Seeing in Color with Digital Photography
ART 142, Introductory Documentary Filmmaking
ART 145, Introduction to Digital Video
ART 184, 3-D Modeling for Creative Practice
 Course Descriptions   49  

ART 185, Principles of Animation

ART 224, Figure Drawing
ART 225, Adventures in Self-Publishing
ART 237, Intermediate Black-and-White: Visual Voice
ART 239, Introduction to Visual Storytelling
ART 241, Introductory Film Writing and Directing
ART 264, Typography!
ART 265, Typography: Expression, Structure, and Sequence
ART 266, History of Graphic Design
ART 288, The Itinerant Image across Media
ART 294, Technology and the Promise of Transformation
ART 301, Critical Theory In and Out of the Studio
ART 331, Intermediate Painting
ART 338, Contemporary Problems in Color with Digital Photography
ART 341, Intermediate Film Writing and Directing
ART 342, Intermediate Documentary Filmmaking
ART 346, Dematerial/Material
ART 356, Printmaking I
ART 368, Graphic Design Methodologies
ART 369, Interactive Design and the Internet
ART 370, Communicating with Time, Motion, and Sound
ART 371, Sound Art
ART 379, Form for Content with the View Camera
ART 388, Edging Temporality: Screen, Picture, Image
ART 395, Junior Seminar
ART 401, Advanced Projects in Photography
ART 432, Painting Studio: The Narrative Figure
ART 433, Painting Studio: Space and Abstraction
ART 442 and 443, Advanced Film Writing and Directing
ART 457, Interdisciplinary Printmaking
ART 468, Advanced Graphic Design: Series and Systems
ART 469, Advanced Graphic Design: History, Editing, and Interpretation
ART 471 and 472, Individual Projects
ART 495 and 496, 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. Course materials fees can-
not be refunded after the second week of classes.

Graduate courses may be elected by advanced undergraduate art majors who have com-
pleted 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.
50   School of Art, 2019–2020

History of Art
The Department of the History of Art at the Je≠rey 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 o≠ers introductory, intermediate, and advanced
courses to students who are interested in (a) entering a major field of study in Yale Col-
lege, (b) preparing for professional, academic, or museum careers, or (c) supplementing
studies in other fields. The department o≠ers 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 Yale College Programs of Study and Graduate
School of Arts and Sciences Programs and Policies, online at http://bulletin.yale.edu.
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 o≠ered 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 Center for British Art, and the
Beinecke Rare Book and Manuscript Library. The department profits from its relation-
ship with the School of Art and the other professional schools and welcomes students
from them.
Entrance Requirements
The School of Art requires for admission a high degree of capability and commitment.
Applicants must hold a bachelor’s degree from an accredited college or university or a
diploma from a four-year accredited professional art school. In exceptional cases and
most particularly in light of the di≠erences among educational structures and opportu-
nities in the international art world today, the admissions committee may waive these
prerequisites if other proofs of preparation and accomplishment are deemed su∞cient
equivalents by the committee. In either case, admission to the School of Art is on a highly
selective and competitive basis.

Admission
Students are admitted to Yale’s M.F.A. program for the fall term of each year only. Appli-
cants are notified of the admissions committee’s decisions on preliminary selections in
early February, and of final decisions in early March. No information about decisions
will be given over the phone. To apply for more than one area of concentration, sepa-
rate applications, fees, and supporting documentation must be submitted. The work
submitted should be representative of the applicant’s experience in that particular field.
Applicants are advised that applying to more than one program does not increase chances
of selection.

Admission Procedures for Preliminary Selection

INSTRUCTIONS FOR All applicants
An application to the School of Art requires forethought and planning. It is important to
read all of the application instructions carefully. Following these instructions will ensure
that your application is viewed to best advantage.
The Yale School of Art application for the 2020–2021 academic year is available online
at https://apply.art.yale.edu/apply. The information that follows will assist you in filing
the application online. For an explanation of specific requirements for each area of study,
please refer to the departmental sections that follow.

Application deadline  Online applications for programs beginning in the 2020–2021

academic year must be uploaded no later than 12 midnight EST on January 10, 2020.
Applicants will not be allowed to submit applications after the deadline has passed.
When many applicants are uploading simultaneously near the deadline, it is possible
that lengthier pre-processing times will be experienced. To avoid this, please consider
submitting prior to the deadline day.

Application materials  The following materials are required for consideration of your
application for admission. Note: All supporting documents that are submitted as a
requirement for admission become a part of the o∞cial file and cannot be returned to
the applicant or forwarded to another institution either in copy or original form.
1. The online application and the nonrefundable application fee of $100. Please follow
payment instructions at https://apply.art.yale.edu/apply. Forms of payment include
Visa, MasterCard, and PayPal. Online applications can be worked on from October 1
52   School of Art, 2019–2020

until the deadline. As it generally takes several weeks to complete an application,

it is strongly recommended that applicants prepare their materials early to ensure
completion by the deadline. Please note that the School of Art is not part of the
Yale Graduate School of Arts and Sciences, and it is not possible to apply by using
application materials found on the Graduate School’s website. It is recommended
that you read the online School of Art bulletin, available at https://bulletin.yale.edu,
before beginning the application process.
Yale School of Art, in its commitment to equity and access, practices need-blind
admission, meaning that a candidate’s financial need or ability is never disclosed to
the admissions committee during review of M.F.A. applications. For this reason, and
because the processing and careful review of each individual application demands
great time and human resources, we regret that the School does not waive the
application fee under any circumstances.
2. A one-page statement that addresses your influences, interests, current work
direction, brief life history, and reasons for applying to a graduate program at this
time. Statements should be no more than 500 words and should make reference to
the representative work in your portfolio.
3. References from three persons practicing or teaching in the field in which application
is made, attesting to the applicant’s ability and competence in that field. Note: The
admissions committee reviews applications shortly after the deadline. While it is not
uncommon for letters of recommendation to come in past the deadline, please impress
upon those who will be writing on your behalf that late submission of supporting
documentation may risk exclusion from the review. Applicants can always view the
receipt status of reference requests on the application status page.
4. Transcripts of the academic record for the bachelor’s degree and/or transcripts from
professional art schools attended. Student copies or uno∞cial transcripts may be
uploaded for the preliminary jury. O∞cial transcripts will be required for applicants
invited to interview.
5. Portfolio of work. Applicants who fail to upload a portfolio as outlined in this bulletin by
the stated deadline will not be considered. The portfolio should represent images of your
best work, indicate your current direction, and demonstrate your ability. At least half
of the images should represent work done within the last twelve months, and all
should be from within the last three years. Chronological order of year is embedded
in our system, and you will not be able to override it. The application system used
by Yale requires that one image from the portfolio be designated as a “representative
work.” This selection is the default image for the cover page of each application file.
As such, applicants have historically selected the piece that most strongly represents
ideas central to their current body of work. Do not include more than one image
on the screen, nor embed other pages of a publication or video within the images
you place in your portfolio. Do not include detail photos of work in your portfolio
unless you consider them absolutely necessary. Under no circumstance should more
than two detail shots be included. Portfolio requirements di≠er depending upon area
of concentration; be sure to follow the instructions for the area to which you are
applying. We strongly recommend that you review your images on a Mac OS to be
certain that they are accurately represented.
 Entrance Requirements   53  

Graphic Design Portfolio Requirements

In addition to a portfolio, all graphic design applicants should upload a résumé, which
will be reviewed for content as well as form of the typography; the résumé may not be
longer than two pages.

Portfolio format  Portfolios are submitted online as part of the online application. The
portfolio submission interface will allow you to label each image with a title, a date of
completion, the materials used, and a brief description of the work (please do not embed
your name in the title or description). Titles should be limited to thirty (30) characters,
descriptions to one sentence. Digital files must adhere strictly to the specifications out-
lined below.

Portfolio contents  Upload a total of twenty (20) still image and/or moving image files
that represent your strongest work. Please do not include only video in your portfolio;
your portfolio should include both still and moving image examples of your work in
design. A significant number of the images should represent work made within the last
few years. As it’s necessary to view the work quickly and at a relatively small scale, each
of the twenty file uploads should be as simple and clear as possible. We strongly recom-
mend that each individual image include only one work or one view of a project. The
assessment of your work is compromised when you place composite or multiple views,
pages, and/or works in a single image file. When presenting book-related designs, at
maximum show a cover and one representative spread in a single image file. Alternately,
you may prepare a short video showing a few spreads. For websites, show just one still
web page per image file, or prepare a short video showing three to four frames being
clicked or scrolled. A complex, systems-related project should be edited to two or three
of the strongest components. Three-dimensional works should show the surrounding
space and context. Limit the use of detail images to situations where you consider them
absolutely necessary. If you are presenting both still and moving images, please present
them in two groups, with all still images followed by all moving images. Within these
groups, place your files in chronological order starting with the oldest and ending with
the most recent work. Chronological order is embedded in our system, and you will not
be able to override it.

File format for still images  Still image files may be sent in jpeg, png, bmp, or ti≠ format.
To conform to our viewing format, each still image file may be no larger than 16 MB. Do
not format images in any presentation program (e.g., PowerPoint, Keynote, PDF) or
include composite images (more than one work per file). PDFs and presentation program
formats are not viewable in our system; only the first page/slide will display.

File format for moving images  Videos will be accepted in QuickTime (preferred), AVI,
FLV, MP4, or WMV format. Video files should be no longer than two minutes in length,
and the size of your video uploads is limited to 64 MB. If you upload a video that is
longer than two minutes, it will automatically time out at two minutes. Please note that
videos are considered as part of your selection of twenty files and should not be used as
a method of showing examples of additional still images. Titles or credits within video
files are not necessary.
54   School of Art, 2019–2020

If you are primarily a video artist and wish to submit a longer video, you may post
the video to your own website and provide the link at the end of your statement.

Résumé  In addition to its content, your résumé will be assessed for its layout and typog-
raphy. The résumé should not be longer than two pages.

Painting/Printmaking Portfolio Requirements

Portfolio format  Portfolios are submitted online as part of the online application. The
portfolio submission interface will allow you to label each image with a title, a date of
completion, the materials used, and a brief description of the work (please do not embed
your name in the title or description). Titles should be limited to thirty (30) characters,
descriptions to one sentence. Digital files must adhere strictly to the specifications out-
lined below.

Portfolio contents  Upload a total of sixteen (16) still image and/or moving image files.
Only work completed within the last three years should be included, and at least half (8)
should be work made in the last twelve months. In the review process, the admissions
committee is concerned with scale and the tactility of the work. For this reason, paint-
ings, drawings, and prints must be photographed showing the edges of the work, i.e., the
edges must not be digitally masked in black. Three-dimensional works should also show
the surrounding space and context. Do not include detail photos of work in your portfolio
unless you consider them absolutely necessary. Under no circumstance should more than
two detail shots be included. If you are presenting both still and moving images, please
present them in two groups with all still images followed by all moving images. Within
these groups, place your files in chronological order starting with the oldest and ending
with the most recent work. Chronological order is embedded in our system, and you will
not be able to override it.

File format for still images  Still image files may be sent in jpeg, png, bmp, or ti≠ format.
To conform to our viewing format, each still image file may be no larger than 16 MB. Do
not format images in any presentation program (e.g., PowerPoint, Keynote, PDF) or
include composite images (more than one work per file). PDFs and presentation program
formats are not viewable in our system; only the first page/slide will display.

File format for moving images  Videos will be accepted in QuickTime (preferred), AVI,
FLV, MP4, or WMV format. Video files should be no longer than two minutes in length,
and the size of your video uploads is limited to 64 MB. If you upload a video that is
longer than two minutes, it will automatically time out at two minutes. Please note that
videos are considered as part of your selection of sixteen files and should not be used as
a method of showing examples of additional still images. Titles or credits within video
files are not necessary.
If you are primarily a video artist and wish to submit a longer video, you may post the
video to your own website and provide the link in the portfolio section of the application.
This will embed the video in your application for later review.

Photography Portfolio Requirements

Portfolio format  Portfolios are submitted online as part of the online application. The
portfolio submission interface will allow you to label each image with a title, a date of
 Entrance Requirements   55  

completion, the materials used, and a brief description of the work (please do not embed
your name in the title or description). Titles should be limited to thirty (30) characters,
descriptions to one sentence. Digital files must adhere strictly to the specifications out-
lined below.

Portfolio contents  Upload a total of twenty (20) still image and/or moving image files.
A significant number of the images should represent work done within the last twelve
months. If you are presenting both still and moving images, please present them in
two groups with all still images followed by all moving images. Within these groups,
place your files in chronological order starting with the oldest and ending with the most
recent work. Chronological order is embedded in our system, and you will not be able
to override it.

File format for still images  Still image files may be sent in jpeg, png, bmp, or ti≠ format.
To conform to our viewing format, each still image file may be no larger than 16 MB. Do
not format images in any presentation program (e.g., PowerPoint, Keynote, PDF) or
include composite images (more than one work per file). PDFs and presentation program
formats are not viewable in our system; only the first page/slide will display.

File format for moving images  Videos will be accepted in QuickTime (preferred), AVI,
FLV, MP4, or WMV format. Video files should be no longer than two minutes in length,
and the size of your video uploads is limited to 64 MB. If you upload a video that is
longer than two minutes, it will automatically time out at two minutes. Please note that
videos are considered as part of your selection of twenty files and should not be used as
a method of showing examples of additional still images. Titles or credits within video
files are not necessary.
If you are primarily a video artist and wish to submit a longer video, you may post the
video to your own website and provide the link in the portfolio section of the application.
This will embed the video in your application for later review.

Sculpture Portfolio Requirements

Portfolio format  Portfolios are submitted online as part of the online application. The
portfolio submission interface will allow you to label each image with a title, a date of
completion, the materials used, and a brief description of the work (please do not embed
your name in the title or description). Titles should be limited to thirty (30) characters,
descriptions to one sentence. Digital files must adhere strictly to the specifications out-
lined below.

Portfolio contents  Upload a total of twenty (20) still image and/or moving image files.
A significant number of the images should represent work done within the last twelve
months. Three-dimensional works should show the surrounding space and context.
If you are presenting both still and moving images, please present them in two groups
with all still images followed by all moving images. Within these groups, place your files
in chronological order starting with the oldest and ending with the most recent work.
Chronological order is embedded in our system, and you will not be able to override it.

File format for still images  Still image files may be sent in jpeg, png, bmp, or ti≠ format.
To conform to our viewing format, each still image file may be no larger than 16 MB. Do
56   School of Art, 2019–2020

not format images in any presentation program (e.g., PowerPoint, Keynote, PDF) or
include composite images (more than one work per file). PDFs and presentation program
formats are not viewable in our system; only the first page/slide will display.

File format for moving images  Videos will be accepted in QuickTime (preferred), AVI,
FLV, MP4, or WMV format. Video files should be no longer than two minutes in length,
and the size of your video uploads is limited to 64 MB. If you upload a video that is
longer than two minutes, it will automatically time out at two minutes. Please note that
videos are considered as part of your selection of twenty files and should not be used as
a method of showing examples of additional still images. Titles or credits within video
files are not necessary.
If you are primarily a video artist and wish to submit a longer video, you may post the
video to your own website and provide the link in the portfolio section of the application.
This will embed the video in your application for later review.

application status
Once an application has been submitted, applicants can track the status of their applica-
tion and the receipt of required supporting materials (such as recommendations) online.
Applicants are encouraged to check the status of their application materials and follow
up as necessary.

Final Selection
Applicants who have passed the Preliminary Selection Jury will be notified in early
February. At this time, applicants invited to interview are required to submit o∞cial
transcripts and send or deliver original work to the School. O∞cial transcripts should be
mailed to Yale School of Art Admissions, PO Box 208339, New Haven CT 06520-8339.
Individual interviews will be scheduled in late February. The interview is an impor-
tant component of the final selection process.

Applicants in Graphic Design  Applicants should submit a portfolio of their work in any
or all of these areas: graphic design print work, environmental design, broadcast/video
graphics, letterform design, interactive media, and other related projects in the visual arts.
Applicants are encouraged to present bodies of work that demonstrate special areas of
interest. Academic or research papers may also be submitted in support of the application.
Between ten and fifteen works may be submitted.

Applicants in Painting/Printmaking  Applicants in painting should submit no more

than five paintings and five drawings, studies, graphic works, or videos. Applicants work-
ing in printmaking should submit no more than twenty prints. Arrangements cannot be
made for the personal hanging/installation of the applicant’s work.

Applicants in Photography  Applicants should submit a portfolio of twenty-five to thirty

photographic prints.

Applicants in Sculpture  Applicants should submit digital files that document their latest
work as well as additional images representing earlier work. Video may be submitted only
if it is necessary to the understanding of the work.
 Entrance Requirements   57  

All applicants  All original works should be accompanied by a complete inventory, and
each work should bear the applicant’s name.

Final notification of admission will be e-mailed in early March. O≠ers of admission are
good only for the year in which they are made. We do not practice deferred admission.
The Financial Aid Award letter will be e-mailed shortly after notification of admission.
No decisions will be given in person or over the telephone.
An individual’s acceptance of admission to the School of Art must be received by
April 10. All matriculating students must submit a transcript that certifies their under-
graduate degree. Admission is not binding unless this certification is received.

Return of work  Original work delivered by hand must be picked up on weekdays during
the hours and dates specified. Any hand-delivered work not taken during the specified
time will be sent to a commercial warehouse for storage at the applicant’s expense unless
other arrangements are made in advance.
Work shipped must be prepaid and must be accompanied by a prepaid return ship-
ping label. If you send your work via United Parcel Service, you may purchase a “Call-
Tag” for its return from UPS when you make your shipping arrangements. We cannot
return or receive COD.

Every precaution will be taken to secure the safety of the works submitted for review.
However, the School of Art assumes no responsibility for loss or damage to the works
from any cause.

Admissions Open House

The School of Art does not o≠er individual interviews until the applicant has passed
the Preliminary Selection Jury. Instead, there will be an open-house introduction to the
School at which representative members of the faculty will discuss the programs and
applicants will be given a guided tour of the facilities. All applicants are encouraged to
attend this briefing. The Open House will be held at the School, 1156 Chapel Street, on
Thursday, November 14, 2019, from 2 p.m. to 5 p.m. Those planning to attend should
register online at http://art.yale.edu/visiting. Applicants should not bring examples of
their work to this event.

Part-Time Students
No programs are o≠ered for transfer, special, or part-time students.

International Students
In order to undertake graduate study, international students and others for whom Eng-
lish is not their first language must present evidence of competence in the use of the
English language. This may be done by taking the Internet-based Test of English as
a Foreign Language (TOEFL iBT), which is administered by the Educational Testing
Service, www.ets.org. The TOEFL code number for the Yale School of Art is 3982. Candi-
dates for admission generally achieve a composite Internet-based score of at least 100, or
a computer-based score of at least 250, with speaking and listening scores of at least 28.
58   School of Art, 2019–2020

The TOEFL score may be waived if the undergraduate degree has been obtained from a
four-year, English-speaking institution. Please note that when scores are uploaded, an
“X” will appear until the o∞cial scores are received. O∞cial scores will be processed after
the application deadline, and this will have no impact on application status.
In order to receive visa documentation, admitted international students must submit
proof that income from all sources will be su∞cient to meet expenses for two years of
study. In 2019–2020 annual expenses (including tuition) will amount to $63,036 for a
single student. Evidence of funds may come from the following sources:
1. A∞davit from a bank;
2. Copy of an award letter stating that financial assistance has been o≠ered;
3. Certification by parents of their ability and intention to provide the necessary funds;
4. Certification by employer of anticipated income.

The School of Art can make no promise of financial aid to international students. Even
when financial aid is awarded, however, in no case does a Yale scholarship cover the full
financial need of an international student. There are no loans available to international
students through the School of Art; however, international students may qualify for
private bank loans.
All international students who wish to be appointed as teaching assistants during their
second year must obtain a United States Social Security number in order to be paid.
Tuition and Fees
Tuition
The tuition fee for the academic year 2019–2020 is $39,924. The Corporation of Yale
University reserves the right to revise tuition rates as necessary.

Tuition Rebate and Refund Policy

On the basis of the federal regulations governing the return of federal student aid (Title
IV) funds for withdrawn students, the rebate and refund of tuition are subject to the
following policy:
1. For purposes of determining the refund of federal student aid funds, any student who
withdraws from the School of Art for any reason during the first 60 percent of the
term will be subject to a pro rata schedule that will be used to determine the amount
of Title IV funds a student has earned at the time of withdrawal. A student who
withdraws after the 60 percent point has earned 100 percent of the Title IV funds. In
2019–2020, the last days for refunding federal student aid funds will be October 28
in the fall term and March 27 in the spring term.
2. For purposes of determining the refund of institutional aid funds and for students
who have not received financial aid:
a. 100 percent of tuition will be rebated for withdrawals that occur on or before the
end of the first 10 percent of the term (September 6, 2019, in the fall term and
January 23, 2020, in the spring term).
b. A rebate of one-half (50 percent) of tuition will be granted for withdrawals that
occur after the first 10 percent but on or before the last day of the first quarter of
the term (September 22, 2019, in the fall term and February 7, 2020, in the spring
term).
c. A rebate of one-quarter (25 percent) of tuition will be granted for withdrawals that
occur after the first quarter of a term but on or before the day of midterm (October
18, 2019, in the fall term and March 2, 2020, in the spring term).
d. Students who withdraw for any reason after midterm will not receive a rebate of
any portion of tuition.
3. The death of a student will cancel charges for tuition as of the date of death, and the
bursar will adjust the tuition on a pro rata basis.
4. If the student has received student loans or other forms of financial aid, funds will be
returned in the order prescribed by federal regulations; namely, first to Federal Direct
Unsubsidized Loans, if any; then to Federal Direct Graduate PLUS Loans; next to any
other federal, state, private, or institutional scholarships and loans; and, finally, any
remaining balance to the student.
5. Recipients of federal and/or institutional loans who withdraw are required to have
an exit interview before leaving Yale. Students leaving Yale receive instructions on
completing this process from Yale Student Financial Services.
60   School of Art, 2019–2020

Fees
The following fees are charged each year to the Student Financial Services bill for use of
and/or access to special facilities; this is a uniform mandatory fee that is refundable only
upon withdrawal from the program, according to the tuition rebate schedule.

All students $2,450 hospitalization insurance, est. (single student)

Undergraduate art majors $200 per term facilities access/user fee

In addition, certain undergraduate courses bear materials fees, and graduate art students
enrolled in them will be billed. Refunds on course fees will not be made after the second
week of classes each term. No partial refunds will be made on course fees.

Student Accounts and Bills

Student accounts, billing, and related services are administered through the O∞ce of
Student Financial Services, which is located at 246 Church Street. The o∞ce’s website is
http://student-accounts.yale.edu.

Bills
Yale University’s o∞cial means of communicating monthly financial account statements
is through the University’s Internet-based system for electronic billing and payment, Yale
University eBill-ePay. Yale does not mail paper bills.
Student account statements are prepared and made available twelve times a year at
the beginning of each month. Payment is due in full by 4 p.m. Eastern Time on the first
business day of the following month. E-mail notifications that the account statement is
available on the University eBill-ePay website (http://student-accounts.yale.edu/ebep)
are sent to all students at their o∞cial Yale e-mail addresses and to all student-designated
proxies. Students can grant others proxy access to the eBill-ePay system to view the
monthly student account statements and make online payments. For more information,
see http://sfas.yale.edu/proxy-access-and-authorization.
Bills for tuition, room, and board are available during the first week of July, due and
payable by August 1 for the fall term; and during the first week of November, due and
payable by December 1 for the spring term. The O∞ce of Student Financial Services will
impose late fees of $125 per month (up to a total of $375 per term) if any part of the term
bill, less Yale-administered loans and scholarships that have been applied for on a timely
basis, is not paid when due. Nonpayment of bills and failure to complete and submit
financial aid application packages on a timely basis may result in the student’s involuntary
withdrawal from the University.
No degrees will be conferred and no transcripts will be furnished until all bills due the
University are paid in full. In addition, transcripts will not be furnished to any student
or former student who is in default on the payment of a student loan.
The University may withhold registration and certain University privileges from stu-
dents who have not paid their term bills or made satisfactory payment arrangements by
the day of registration. To avoid delay at registration, students must ensure that payments
reach Student Financial Services by the due dates.
 Tuition and Fees   61  

Payments
There are a variety of options o≠ered for making payments. Yale University eBill-ePay
(http://student-accounts.yale.edu/ebep) is the preferred means for payment of your
monthly student account bill. The ePayments are immediately posted to the student
account. There is no charge to use this service. Bank information is password-protected
and secure, and a printable confirmation receipt is available. On bill due dates, payments
using the eBill-ePay system can be made up to 4 p.m. Eastern Time in order to avoid
late fees.
For those who choose to pay the student account bill by check, a remittance advice and
mailing instructions are included with the online bill available on the eBill-ePay website.
All bills must be paid in U.S. currency. Checks must be payable in U.S. dollars drawn on
a U.S. bank. Payments can also be made via wire transfer. Instructions for wire transfer
are available on the eBill-ePay website.
Yale does not accept credit card payments.
A processing charge of $25 will be assessed for payments rejected for any reason by
the bank on which they were drawn. In addition, the following penalties may apply if a
payment is rejected:
1. If the payment was for a term bill, late fees of $125 per month will be charged for the
period the bill was unpaid, as noted above.
2. If the payment was for a term bill to permit registration, the student’s registration
may be revoked.
3. If the payment was given to settle an unpaid balance in order to receive a diploma, the
University may refer the account to an attorney for collection.

Yale Payment Plan

The Yale Payment Plan (YPP) is a payment service that allows students and their families
to pay tuition, room, and board in ten equal monthly installments throughout the year
based on individual family budget requirements. It is administered by the University’s
O∞ce of Student Financial Services. The cost to enroll in the YPP is $100 per contract.
The deadline for enrollment is June 25. Additional details concerning the Yale Payment
Plan are available at http://student-accounts.yale.edu/ypp.
Financial Aid
Financial aid is available in a combination of work-study, education loans, and scholar-
ship to assist students in financing their education. The financial aid application dead-
line is March 1 for incoming students and April 15 for returning students. Individuals
in default of a student loan will not be granted a financial aid award until clearance of
such a default is provided to the School. Financial aid, whether in the form of loan,
scholarship, or job, is authorized contingent upon the student’s maintaining satisfactory
academic progress.
In conformity with University policy, financial assistance is determined only after a
student has been accepted for admission and is awarded solely on the basis of financial
need and available resources within the Yale School of Art. There are no scholarships
based on merit or any criteria other than financial need. The School determines financial
need in accordance with formulas established by federal and institutional methodologies.
New applicants are encouraged to submit documents well before the admissions decision
date to ensure the best possible funding. More than 80 percent of students in the School
receive a form of financial aid.

Required Financial Aid Data

U.S. Citizens and Permanent Residents
Complete and submit all of the following by the above-stated deadlines:
1. FAFSA. Complete the Free Application for Federal Student Aid (FAFSA)—student
section only—online at www.fafsa.gov. Note the Yale University federal school code
is 001426. For FAFSA technical assistance, call 800.433.3243. Those who applied for
federal financial aid during the previous academic year may complete a Renewal
FAFSA online by using their FSA ID number. Those who have not yet created an
FSA ID number and password can do so at www.studentaid.gov/fsaid. Those who
do not remember their FSA ID number or password can retrieve them from the log-in
page.
2. CollegeBoard CSS Profile. Complete the student and parent (and, if applicable, spouse)
sections of the CSS Profile online at https://student.collegeboard.org/css-financial-
aid-profile. For general information and/or technical assistance, call 844.202.0524.
3. 2018 Federal Tax Returns. Submit signed copies of 2018 federal tax returns, W-2s,
and schedules for the applicant, spouse, and both parents—regardless of the age or
dependency of the applicant—to Yale School of Art, O∞ce of Financial A≠airs, PO
Box 208339, New Haven CT 06520-8339.

International Citizens
Complete and submit the following by the above-stated deadlines:
1. CollegeBoard CSS Profile. Complete the student and parent (and, if applicable, spouse)
sections of the CSS Profile online at https://student.collegeboard.org/css-financial-
aid-profile. For general information and/or technical assistance, call 844.202.0524.
2. International Student Certification of Finances. Print form from the website http://art.
yale.edu/FinancialAid.
 Financial Aid   63  

3. Documentation of 2018 income and tax data (U.S. and/or Home Country) for the
applicant, spouse, and both parents.

All forms must be completed by the applicant, spouse, and both parents and returned to
the O∞ce of Financial A≠airs, along with all income and tax documentation. Mail or hand
deliver to Yale School of Art, O∞ce of Financial A≠airs, PO Box 208339, New Haven CT
06520-8339. Please take into consideration su∞cient postal time for delivery of forms to
the United States from abroad.

Financial Aid Awards

School of Art financial aid awards are based on financial need and the School’s resources;
it is for this reason that students are urged to plan their finances for each year with the
utmost care. Students should be prepared to cover their anticipated need at the start of
the program. The School cannot guarantee additional help once the financial aid award
is determined.
A typical single student budget for the nine-month academic year totals $63,036,
comprising $39,924 for tuition, $17,756 for living expenses (including hospitalization
insurance), and $5,356 for books, art supplies, and academic fees.
The following named scholarship funds provide financial aid for enrolled students
who meet the eligibility and need requirements as determined by the School: Benson
Scholarship, Richard “Chip” Benson Endowed Scholarship Fund, John A. Carrafiell
Scholarship Fund, Barry Cohen Scholarship Fund, CreativeFeed Design Scholarship,
Blair Dickinson Scholarship, Alvin Eisenman Scholarship Fund, Alice Kimball English
Scholarship, Fosburgh Scholarship, H. Lee Hirsche Scholarship, Leeds-Marwell Pho-
tography Scholarship, Lin Art/Architecture Scholarship Fund, Alfred L. McDougal and
Nancy Lauter Endowed Scholarship Fund, Holland R. Melson Jr. Fund, Stavros Niar-
chos Foundation School of Art International Student Scholarship, Herbert R. Nubel
Endowed Scholarship, Fannie Pardee Scholarship, James William Procter Jr. Endowed
Scholarship Fund, Professor Robert Reed Scholarship Fund, Andrea Frank Foundation
Sanyu Scholarship Fund, Charles Sawyer Scholarship and Prize in Graphic Design, Barry
Schactman Scholarship Fund, Schickle Collingwood Prize, Carol Schlosberg Scholar-
ship, Robert Schoelkopf Scholarship, School of Art Endowment Fund for Financial Aid,
School of Art Scholarship Fund, Amy Tatro Scholarship Fund, Bradbury Thompson
Scholarship, Leopoldo Villareal III Scholarship, Richard Welling Scholarship Fund, and
Herbert Zohn Scholarship Fund.

Anti-Drug Abuse Act Certification and

Statement on Selective Service Registration
To receive Title IV funds (Federal Direct or Federal Work-Study [FWS]) a student must
complete a Statement of Educational Purpose that certifies whether or not there is a
record of the possession or sale of illegal drugs for an o≠ense that occurred while that
student was receiving federal student aid (section 5301 of P.L. 100-690). This statement
also confirms that the individual has registered for Selective Service (if male) or states the
reason why he is not required to do so. If required to do so, a student must be registered
with Selective Service. If false information is purposely given on this form, the student
may be subject to fine or imprisonment or both (20 U.S.C. 1091 and 50 U.S.C. App. 462).
64   School of Art, 2019–2020

Veterans Administration Benefits

Eligible students are strongly encouraged to seek specific information about Veterans
Administration Benefits from their local Veterans Administration o∞ce or by calling
1.888.442.4551 or visiting www.benefits.va.gov/gibill. The School of Art will be happy
to assist students with claims once they are enrolled.

Employment
The Student Employment O∞ce, 246 Church Street (https://yalestudentjobs.org),
assists self-supporting students in obtaining part-time employment within the Univer-
sity. Many work-study jobs are assigned by the School of Art, at the beginning of the
term, for employment within the graduate art departments, and many students in the
School obtain o≠-campus freelance or weekly part-time jobs. The contact for student
jobs is David Blackmon in the O∞ce of Student Financial Services. TA positions are most
often assigned to second-year students.

Assistantships
Appointments to teaching assistantships are made by the dean and faculty of the School
of Art and are usually given only to second-year students. A student may not apply for an
assistantship because all appointments are based on individual merit and performance
qualifications and not on financial need. A U.S. Social Security number is required in order
to be paid as a teaching assistant. Teaching assistantships may be for one or two terms,
and the compensation is made via monthly payments (rather than tuition remission).
Art Resources and Collections
Digital Labs
The Digital Labs of the School of Art (http://art.yale.edu/DigLab) consist of Mac-based
facilities for undergraduate and graduate students enrolled in the School. Each area of
graduate study has its own computer lab for graduate work, and there are computers
available for all-school use as well. For general course use there is a computer classroom
with attached scanners and networked printers.
Painting and printmaking students have an Epson printer set up for digital print-
ing and transparencies for printmaking processes. Sculpture students have both mono-
chrome and color laser printers as well as video editing stations. Graphic design students
can use Ricoh laser printers for proofs, smaller work, and books, and HP Designjet wide-
format printers and a Ricoh engineering plotter for poster production. Photography
students have an Imacon scanner for digitally scanning negatives and Epson printers for
digital photo printing. All-school facilities include Ricoh laser printing, HP Designjet
wide-format inkjet printing, and Dremel 3-D printers.
The graduate facilities include 11 x 17 scanners and additional equipment based on the
needs of the students in the department, including laser printers, PC computers, slide
scanners, and a laser cutter.
Digital projectors, cameras, displays, audio recording, a black-box production studio,
and other equipment are available for short-term loan during the academic year. All
students who work digitally are expected to have their own portable hard drive to store
personal work.
All computer facilities are available to students twenty-four hours a day; departmen-
tal access is required for some labs. The labs are supported by digital technology team
members and have individual student monitors as well.

Center for Collaborative Arts and Media

The Center for Collaborative Arts and Media at 149 York Street is an interdisciplinary arts
research center that fosters critical inquiry at the intersections of visual art, design, film,
music/sound, performance, and computer science. Its programs and faculty-led sta≠
promote interdisciplinary inquiry, discourse, production, and research across expanding
fields of arts practice. The center, which is open to all Yale students, has a motion studio
equipped with a state-of-the-art 1,400-square-foot motion capture analysis system, an
eight-channel interactive projection system, and an integrated XR experience platform;
a black-box production studio equipped with various video and audio recording instru-
ments, studio lighting, green screen, and an integrated XR experience platform; a variety
of creative suites for individual use with such resources as video and audio recording
instruments, animation copy stands and drawing tablets, mixers and editing instru-
ments, integrated XR production tools, and powerful computing resources equipped to
handle most 2-D and 3-D computer graphics needs; and a media lab featuring a variety
of fabrication resources including wide-format inkjet printing, direct-to-substrate UV
printing, 3-D prototyping, laser-cutting, vinyl-cutting, drawing tablets, scanners, and
traditional bookbinding instruments.
66   School of Art, 2019–2020

Center for Engineering Innovation

and Design
Since opening in 2012, the Center for Engineering Innovation and Design (CEID) has
served as the hub for collaborative design and interdisciplinary activity at Yale Univer-
sity. Its goal is to enable the design, development, and actualization of ideas, from the
whiteboard to the real world. Students, sta≠, and faculty from across Yale have access to
CEID resources, participate in courses and events, and collaborate with CEID sta≠ on a
wide range of projects. The CEID acts as both an educational resource as well as a focal
point for design and engineering on campus. Its 8,700-square-foot design lab combines
an open studio, lecture hall, wet lab, and meeting rooms. The studio is equipped with 3-D
printers, hand-tools, electronics workstations, and a variety of materials for members to
use. Members have 24/7 access to the studio space, as well as to a state-of-the-art machine
shop, wood shop, and wet lab during regular sta≠ed hours.

Ralph Mayer Learning Center

Through the generosity of the late Bena Mayer, a painter and the widow of Ralph Mayer,
author of The Artist’s Handbook of Techniques and Materials, The Painter’s Craft, and A
Dictionary of Art Terms and Techniques, archives related to her husband’s research and
writings have been given to the Yale School of Art for the establishment of the Ralph
Mayer Learning Center. The purpose of the center is to support research and writing on
the use of materials, and for the study of artists’ techniques in the field of drawing and
painting. A course on materials and techniques, part of the curriculum of the Yale School
of Art for more than fifty years, is augmented by the center.
Original Mayer manuscripts and memorabilia are included in the collection of the
Haas Family Arts Library and are available on a noncirculating basis to members of the
Yale community and the public. The School o≠ers to answer in writing inquiries regard-
ing the use of artists’ materials. Requests for information about this service should be
addressed to Anoka Faruqee, Director of Graduate Studies, Painting and Printmaking,
Ralph Mayer Learning Center, PO Box 208339, New Haven CT 06520-8339.

Yale University Art Gallery

The Yale University Art Gallery was founded in 1832 as an art museum for Yale and the
community. Today it is one of the largest museums in the country, holding more than
250,000 objects and welcoming visitors from around the world. The museum’s ency-
clopedic collection can engage every interest. Galleries showcase artworks from ancient
times to the present, including vessels from Tang-dynasty China, early Italian paintings,
textiles from Borneo, treasures of American art, masks from Western Africa, modern and
contemporary art, ancient sculptures, masterworks by Degas, van Gogh, and Picasso, and
more. Spanning one and a half city blocks, the museum features more than 4,000 works
on display, multiple classrooms, a rooftop terrace, a sculpture garden, and dramatic views
of New Haven and the Yale campus. The gallery’s mission is to encourage an understand-
ing of art and its role in society through direct engagement with original works of art.
Programs include exhibition tours, lectures, and performances, all free and open to the
public. For more information, please visit https://artgallery.yale.edu.
 Art Resources and Collections   67 

Yale Center for British Art

The Yale Center for British Art is a public art museum and research institute that houses
the largest collection of British art outside the United Kingdom. Presented to the Uni-
versity by Paul Mellon (Yale College, Class of 1929), the collection reflects the develop-
ment of British art and culture from the Elizabethan period to the present day. Free and
open to the public. O≠ers exhibitions and programs, including lectures, concerts, films,
symposia, tours, and family events. For more information, please visit https://britishart.
yale.edu.

Libraries
The Robert B. Haas Family Arts Library is part of the Yale University Library, which
comprises fifteen million print and electronic volumes in more than a dozen di≠erent
libraries and locations. The Arts Library, linking the ground floors of Rudolph Hall
and the Loria Center at 180 and 190 York Street, serves as the primary collection for the
study of art, architecture, and drama at Yale. The Arts Library contains approximately
150,000 on-site volumes including important reference works, monographs, exhibition
catalogs, and print periodicals, and a growing complement of digital resources, including
online periodicals, article indexes, and databases. It also includes Arts Library Special
Collections, which features artists’ books and volumes on the book arts, fine printing,
typography, and illustration, as well as archival materials and thesis projects from the
Schools of Art, Architecture, and Drama. The Arts Library’s digital collections contain
more than 370,000 images to support teaching and research across a range of disciplines
in the arts and humanities. In addition, more than 200,000 visual arts titles are available
for delivery to Haas, or any other Yale library, from the Library Shelving Facility (LSF).
More than 100,000 titles are housed at Sterling Memorial Library, the Classics Library,
and Beinecke Rare Book and Manuscript Library. The Yale University Library system
makes related collections in archaeology, anthropology, fashion, film, history, and lit-
erature readily accessible to arts scholars and practitioners. To learn more, visit http://
web.library.yale.edu/arts.
Yale Norfolk School of Art
The Yale Norfolk School of Art, established in 1948, is an intensive six-week under-
graduate summer residency program for twenty-six rising undergraduate seniors from
institutions across the United States and internationally. The school is located on the
Ellen Battell Stoeckel Estate in Norfolk, Connecticut, and is supported by the Ellen Battell
Stoeckel Trust. Yale Norfolk 2020 takes place from May 17 through June 27.
Students follow a curriculum of four Yale College art courses: Critical Studies;
Advanced Image Making; Body, Space, and Time; and Senior Studio, which includes
modules focused in drawing and other disciplines. Students work in individual studio
spaces and have access to digital printers, computers, traditional printmaking presses,
and silkscreen facilities.
The resident faculty for Yale Norfolk 2019 is comprised of Ayham Ghraowi, Martin
Kersels, Byron Kim, Lisa Sigal, and four teaching fellows, selected from graduates of
Yale’s M.F.A. program. In addition to the course curriculum, students will investigate
“The Ethics of Color,” the theme of the summer’s lecture series, with visiting scholars
and artists who will engage the students in a wide range of topics. The resident faculty
and lecture series theme for Yale Norfolk 2020 will be announced.
Individuals may not apply directly to the program; rather, they must be nominated by
a dean, program chair, or other academic o∞cial at their home institution. Students who
successfully complete the program receive four course credits or twelve units toward their
undergraduate degree. This important educational partnership between Yale Norfolk and
participating schools supports young artists in a vital moment of growth. Many of Yale
Norfolk’s alumni go on to make significant contributions to the field of art and credit
Yale Norfolk with having a profound impact on their lives and art. Students interested
in being considered for nomination should inform their deans and department chairs.
Faculty nomination and student application deadlines are in March, annually.
Summer Courses in Art
The Yale School of Art participates in the Yale Summer Session by o≠ering five-week
courses in drawing, graphic design, photography, sculpture, animation, and painting.
Yale Summer Session o≠ers undergraduate courses for credit and awards the equivalent
of three term-hours’ credit for each course successfully completed. Classes are held two
times a week on campus; additional studio time may also be available. Yale Summer Ses-
sion 2020 takes place from June 29 through July 31. Admission is not limited to Yale stu-
dents but is open also to undergraduates who wish to study in an environment di≠erent
from that of their home institution, to college graduates who wish to explore other fields
of study, and to qualified high school or precollege students who will have completed
their junior year of high school before summer classes begin.
Further information on residency, scholarships, application forms, important dates
and deadlines, and tuition may be found on the Yale Summer Session website at http://
summer.yale.edu. Inquiries may be made by telephone at 203.432.2430 or by e-mail to
summer.session@yale.edu. Applications are considered as they are received, with a deci-
sion concerning admission following shortly thereafter. Class size for each art course is
limited depending upon the nature of the course. There is an application fee of $75.
General Information
Academic Regulations
Registration
No student may register for any term unless the student is making satisfactory progress
toward the degree and has been cleared by the O∞ce of Student Financial Services to
register. In compliance with Connecticut state law, no student will be allowed to register
unless satisfactory evidence of immunity to measles and rubella has been presented to
Yale Health (see Required Immunizations under Health Services in the chapter Yale
University Resources and Services).

Course Changes
It is the student’s responsibility to maintain an accurate course schedule in the O∞ce
of Academic Administration. Any change (drop or add) to the schedule agreed upon at
registration should be reported immediately. No adding of courses will be permitted after
the first two weeks of any term. A student may, with the consent of the director of aca-
demic administration, drop a course until midterm. At this time, courses are permanently
entered onto the transcript. From midterm until the last day of classes in each term, a
student may withdraw from a course with the permission of the instructor of the course
and the director of academic administration. At the time the student withdraws, the
notation of W (Withdrew) will be entered onto the transcript. Course withdrawal forms
may be obtained in the O∞ce of Academic Administration. Between the end of classes
in each term and the beginning of the examination period, no student will be permitted
to withdraw from any course. If the instructor of a course reports to the registrar that a
student has not successfully completed a course from which the student has not formally
withdrawn, a grade of F will be recorded in that course.

Grading System
All graduate-level courses within the School of Art are graded Pass (P) or Fail (F). Credit
will be given for any passing grade received for a Yale College course (A–D), Graduate
School course (H, HP, P), or other professional school course at Yale. No credit will be
given for a grade of F or an incomplete. Arrangements to finish incompletes are to be
determined between the student and the instructor. Any incomplete that is not made up
by registration in the next consecutive term will be recorded as an F on the transcript.
Academic courses may also be elected under a Pass/Fail option whereby the registrar will
interpret letter grades from them onto the transcript as Pass or Fail.

Progress Reports
Within one week following registration in any given term, students will be issued a copy
of their course schedule that lists the courses for which they have registered. At the end of
the academic year, each student will be issued a copy of the student’s transcript indicating
grades earned, which will serve as a progress report. Prior to issuance of this progress
report, grades earned in the fall term will be available on request.
 General Information   71  

Student Conduct and Attendance

Students are required to conform to the regulations established by the School of Art. The
School of Art Handbook contains the School’s Academic Rules and Regulations. It is expected
that students will attend all classes regularly. In any course, more than two unexcused
absences may result in a failing grade.

Reviews and Awards

The M.F.A. degree is awarded by the University on the recommendation of the faculty of
the School of Art. Each department in the School holds its own reviews of students’ work
at regular intervals. At the end of each review, faculty may require a student to take a par-
ticular course or participate in a tutorial. This requirement supersedes the normal choice
of electives. Students are considered to be in “Good Academic Standing” so long as they
maintain a grade level of Pass in all courses and studio work. No student can progress to
a subsequent term with a failing grade in the student’s major field of study. Students are
expected to attend and participate in all courses taken for credit in order to receive pass-
ing grades. If the work under review is not considered by the faculty to be satisfactory
and deserving of credit toward the degree, the student will receive an academic warning.
Students who have received such a warning during or at the end of any term will have
to demonstrate a satisfactory level of quality and e≠ort in their work by the next review
period. If they fail to do this, they may not be invited back to complete the program or
may be asked to take a leave of absence. Disciplinary dismissal may take place at any
time during the year for any student in the School. Exceptions to the regulations of the
M.F.A. degree can be made only on the recommendation of the Academic Subcommittee,
to which all applications on these matters must be addressed.

Financial Aid and Satisfactory Academic Progress

If a student on financial aid does not maintain satisfactory academic progress, the appro-
priate portion of loans and scholarships (Federal Sta≠ord loans, School of Art Work-
Study jobs, scholarships) will be canceled, and no further aid will be allocated until there
is proof of improvement and/or satisfactory completion of course work.

Commencement
Attendance is required at Commencement exercises for all M.F.A. candidates. Special
permission to be excused must be obtained from the dean. In addition to the comple-
tion of degree requirements, satisfactory final review of the student’s work, and a thesis
exhibition, submission of the following is required in order to graduate:

Graphic Design Thesis Book

Painting/Printmaking Digital portfolio
Photography Print portfolio
Sculpture Digital portfolio

All degree requirements must be completed within three years of the student’s scheduled
graduation date in order to obtain the M.F.A. degree. Those who are unable to meet this
deadline and wish to pursue their degree further must reapply for this consideration and
pay a reregistration fee, which is 10 percent of the current tuition rate.
72   School of Art, 2019–2020

Leave of Absence
Students are expected to follow a continuous course of study at the School of Art. How-
ever, a student who wishes or needs to interrupt study temporarily may request a leave
of absence. There are three types of leave—personal, medical, and parental—all of which
are described below. The general policies that apply to all types of leave are:
1. Any student who is contemplating a leave of absence should see the director of
academic administration or the student’s director of graduate studies to discuss the
necessary application procedures.
2. All leaves of absence must be approved by the dean. Medical leaves also require the
written recommendation of a Yale Health physician, as described below.
3. A student may be granted a leave of absence of one to two years. Any leave approved
by the dean will be for a specified period.
4. International students who apply for a leave of absence must consult with OISS
regarding their visa status.
5. A student on leave of absence may complete outstanding work in any course for which
the student has been granted extensions. The student may not, however, fulfill any
other degree requirements during the time on leave.
6. A student on leave of absence is ineligible for financial aid, including loans; and in
most cases, student loans are not deferred during periods of nonenrollment.
7. A student on leave of absence is ineligible for the use of any University facilities
normally available to enrolled students.
8. A student on leave of absence may continue to be enrolled in Yale Health by purchasing
coverage through the Student A∞liate Coverage plan. In order to secure continuous
coverage from Yale Health, enrollment in this plan must be requested prior to the
beginning of the term in which the student will be on leave or, if the leave commences
during the term, within thirty days of the date when the leave is approved. Coverage is
not automatic; enrollment forms are available from the Member Services department
of Yale Health, 203.432.0246.
9. A student on leave of absence must notify the director of academic administration in
writing of the intention to return by a specified deadline set by the dean. In addition,
a returning student who wishes to be considered for financial aid must submit
appropriate financial aid applications to the School’s financial aid o∞ce to determine
eligibility.
10. A student on leave who does not return at the end of the approved leave, and does not
request and receive an extension from the dean, is automatically dismissed from the
School.

Personal Leave of Absence 

A student who wishes or needs to interrupt study temporarily because of personal exi-
gencies may request a personal leave of absence. The general policies governing all leaves
of absence are described above. A student who is current with degree requirements is
eligible for a personal leave after satisfactory completion of at least one term of study.
Personal leaves cannot be granted retroactively and normally will not be approved after
the tenth day of a term.
 General Information   73  

To request a personal leave of absence, the student must apply in writing before the
beginning of the term for which the leave is requested, explaining the reasons for the
proposed leave and stating both the proposed start and end dates of the leave and the
address at which the student can be reached during the period of the leave. Leave requests
should be submitted to the director of academic administration, who will review them
with the dean. If the dean finds the student to be eligible, the leave will be approved.
In any case, the student will be informed in writing of the action taken. A student who
does not apply for a personal leave of absence, or whose application for a personal leave
is denied, and who does not register for any term, will be considered to have withdrawn
from the School.

Medical Leave of Absence 

A student who must interrupt study temporarily because of illness or injury may be
granted a medical leave of absence with the approval of the dean, on the written recom-
mendation of a physician on the sta≠ of Yale Health. The general policies governing all
leaves of absence are described above. A student who is making satisfactory progress
toward the degree requirements is eligible for a medical leave any time after matricula-
tion. The final decision concerning a request for a medical leave of absence will be com-
municated in writing by the dean.
The School of Art reserves the right to place a student on a mandatory medical leave
of absence when, on recommendation of the director of Yale Health or the chief of the
Mental Health and Counseling department, the dean of the School determines that,
because of a medical condition, the student is a danger to self or others, the student has
seriously disrupted others in the student’s residential or academic communities, or the
student has refused to cooperate with e≠orts deemed necessary by Yale Health and the
dean to make such determinations. Each case will be assessed individually based on all
relevant factors, including, but not limited to, the level of risk presented and the avail-
ability of reasonable modifications. Reasonable modifications do not include fundamen-
tal alterations to the student’s academic, residential, or other relevant communities or
programs; in addition, reasonable modifications do not include those that unduly burden
University resources.
An appeal of such a leave must be made in writing to the dean of the School no later
than seven days from the e≠ective date of the leave.
An incident that gives rise to voluntary or mandatory leave of absence may also result
in subsequent disciplinary action.
A student who is placed on medical leave during any term will have tuition adjusted
according to the same schedule used for withdrawals (see Tuition Rebate and Refund
Policy). Before re-registering, a student on medical leave must secure written permission
to return from a Yale Health physician.

Leave of Absence for Parental Responsibilities

A student who wishes or needs to interrupt study temporarily for reasons of pregnancy,
maternity care, or paternity care may be granted a leave of absence for parental respon-
sibilities. The general policies governing all leaves of absence are described above. A
student who is making satisfactory progress toward the degree requirements is eligible
for parental leave any time after matriculation.
74   School of Art, 2019–2020

Any student planning to have or care for a child is encouraged to meet with the direc-
tor of academic administration to discuss leaves and other short-term arrangements.
For many students, short-term arrangements rather than a leave of absence are possible.
Students living in University housing units are encouraged to review their housing con-
tract and the related polices of the Graduate Housing O∞ce before applying for a parental
leave of absence. Students granted a parental leave may continue to reside in University
housing to the end of the academic term for which the leave was first granted, but no
longer.

U.S. Military Leave Readmissions Policy

Students who wish or need to interrupt their studies to perform U.S. military service
are subject to a separate U.S. military leave readmissions policy. In the event a student
withdraws or takes a leave of absence from Yale School of Art to serve in the U.S. military,
the student will be entitled to guaranteed readmission under the following conditions:
1. The student must have served in the U.S. Armed Forces for a period of more than
thirty consecutive days;
2. The student must give advance written or verbal notice of such service to the director
of academic administration. In providing the advance notice the student does not
need to indicate whether the student intends to return. This advance notice need not
come directly from the student, but rather, can be made by an appropriate o∞cer of
the U.S. Armed Forces or o∞cial of the U.S. Department of Defense. Notice is not
required if precluded by military necessity. In all cases, this notice requirement can be
fulfilled at the time the student seeks readmission, by submitting an attestation that
the student performed the service.
3. The student must not be away from the School to perform U.S. military service for
a period exceeding five years (this includes all previous absences to perform U.S.
military service but does not include any initial period of obligated service). If a
student’s time away from the School to perform U.S. military service exceeds five
years because the student is unable to obtain release orders through no fault of the
student or the student was ordered to or retained on active duty, the student should
contact the director of academic administration to determine if the student remains
eligible for guaranteed readmission.
4. The student must notify the School within three years of the end of the U.S. military
service of the intention to return. However, a student who is hospitalized or recovering
from an illness or injury incurred in or aggravated during the U.S. military service
has up until two years after recovering from the illness or injury to notify the School
of the intent to return.
5. The student cannot have received a dishonorable or bad conduct discharge or have
been sentenced in a court-martial.

A student who meets all of these conditions will be readmitted for the next term,
unless the student requests a later date of readmission. Any student who fails to meet
one of these requirements may still be readmitted under the general readmission policy
but is not guaranteed readmission.
 General Information   75  

Upon returning to the School, the student will resume education without repeating
completed course work for courses interrupted by U.S. military service. The student will
have the same enrolled status last held and with the same academic standing. For the
first academic year in which the student returns, the student will be charged the tuition
and fees that would have been assessed for the academic year in which the student left
the institution. Yale may charge up to the amount of tuition and fees other students are
assessed, however, if veteran’s education benefits will cover the di≠erence between the
amounts currently charged other students and the amount charged for the academic year
in which the student left.
In the case of a student who is not prepared to resume studies with the same aca-
demic status at the same point where the student left or who will not be able to complete
the program of study, the School will undertake reasonable e≠orts to help the student
become prepared. If after reasonable e≠orts, the School determines that the student
remains unprepared or will be unable to complete the program, or after the School deter-
mines that there are no reasonable e≠orts it can take, the School may deny the student
readmission.

Withdrawal
A student who wishes to withdraw from the M.F.A. program should confer with Taryn
Wolf, the director of academic administration, or the director of graduate studies in the
student’s department. The University identification card and all keys must be submitted
with a formal letter of withdrawal. Students who do not register for any term, and for
whom a leave of absence has not been approved, are considered to have withdrawn from
the School. Students who discontinue their program of study during the academic year
will have tuition charges prorated according to University policy as noted in the section
on Tuition Rebate and Refund Policy. A student who has withdrawn from the School of
Art in good standing and who wishes to resume study at a later date must apply for read-
mission. Neither readmission nor financial aid is guaranteed to students who withdraw.

General Regulations
1. Students are expected to conform to the regulations established by the School of Art.
The School of Art Handbook, which contains more detailed rules and regulations, will
be given to each student upon registration.
2. It is expected that students will attend all classes regularly. Students must reside in
New Haven or nearby, as commuting more than a few miles is not possible due to the
24/7 nature of the studio program.
3. The School of Art reserves the right to require the withdrawal of any student whose
educational development is unsatisfactory or whose conduct is deemed harmful to the
School. Please refer to the policy on student grievances at http://equalopportunity.
yale.edu/complaint-procedures.
76   School of Art, 2019–2020

freedom of expression
The Yale School of Art is committed to the protection of free inquiry and expres-
sion in the classroom and throughout the school community. In this, the School
reflects the University’s commitment to and policy on freedom of expres-
sion as eloquently stated in the Woodward Report (Report of the Commit-
tee on Freedom of Expression at Yale, 1974). See http://studentlife.yale.edu/
guidance-regarding-free-expression-and-peaceable-assembly-students-yale.
Yale University Resources and Services
A Global University
Yale continues to evolve as a global university, educating leaders and advancing the fron-
tiers of knowledge across the entire world. The University’s engagement beyond the
United States dates from its earliest years. Yale has drawn students from abroad for nearly
two centuries, and international topics have been represented in its curriculum for the
past hundred years and more. Yale aspires to:
• Be the university that best prepares students for global citizenship and leadership
• Be a worldwide research leader on matters of global import
• Be the university with the most e≠ective global networks

This year, Yale welcomed the largest number of international students and scholars
in its history. The current enrollment of more than 2,800 international students from 121
countries comprises 22 percent of the student body. Yale is committed to attracting the
best and brightest from around the world by o≠ering generous international financial aid
packages, conducting programs that introduce and acclimate international students to
Yale, and fostering a vibrant campus community. The number of international scholars
(visiting faculty, researchers, and postdoctoral fellows) has also grown to nearly 2,700
each year.
Yale’s globalization is guided by the vice president for global strategy, who is respon-
sible for ensuring that Yale’s broader global initiatives serve its academic goals and priori-
ties, and for enhancing Yale’s international presence as a leader in liberal arts education
and as a world-class research institution. The vice president works closely with academic
colleagues in all of the University’s schools and provides support and strategic guidance
to the many international programs and activities undertaken by Yale faculty, students,
and sta≠.
The Whitney and Betty MacMillan Center for International and Area Studies
(https://macmillan.yale.edu) is the University’s focal point for teaching and research on
international a≠airs, societies, and cultures.
The Jackson Institute for Global A≠airs (http://jackson.yale.edu) seeks to institution-
alize the teaching of global a≠airs throughout the University and to inspire and prepare
Yale students for global citizenship and leadership.
The O∞ce of International A≠airs (https://world.yale.edu/oia) provides adminis-
trative support for the international activities of all schools, departments, centers, and
organizations at Yale; promotes Yale and its faculty to international audiences; and works
to increase the visibility of Yale’s international activities around the globe.
The O∞ce of International Students and Scholars (https://oiss.yale.edu) hosts ori-
entation programs and social activities for the University’s international community and
is a resource for international students and scholars on immigration matters and other
aspects of acclimating to life at Yale.
The Yale World Fellows Program (https://worldfellows.yale.edu) hosts fifteen
emerging leaders from outside the United States each year for an intensive semester of
individualized research, weekly seminars, leadership training, and regular interactions
with the Yale community.
78   School of Art, 2019–2020

The Yale Alumni Association (https://alumni.yale.edu) provides a channel for com-

munication between the alumni and the University and supports alumni organizations
and programs around the world.
Additional information may be found on the “Yale and the World” website (https://
world.yale.edu), including resources for those conducting international activities abroad
and links to international initiatives across the University.

Cultural and social Resources

There are many ways to keep up-to-date about campus news and events. These include
the YaleNews website, which features stories, videos, and slide-shows about Yale people
and programs (http://news.yale.edu); the interactive Yale Calendar of Events (http://
calendar.yale.edu); and the University’s social media channels on Facebook, Twitter,
Instagram, Tumblr, LinkedIn, and YouTube.
The Yale Peabody Museum of Natural History, founded in 1866, houses more than
thirteen million specimens and objects in ten curatorial divisions: anthropology, botany,
entomology, historical scientific instruments, invertebrate paleontology, invertebrate
zoology, mineralogy and meteoritics, paleobotany, vertebrate paleontology, and verte-
brate zoology. The renowned collections provide crucial keys to the history of Earth and
its life-forms, and in some cases are the only remaining traces of animals, plants, and
cultures that have disappeared. About 5,000 objects are on public display, including the
original “type” specimens—first of its kind—of Brontosaurus, Stegosaurus, and Triceratops.
There are more than eighty endowed lecture series held at Yale each year on subjects
ranging from anatomy to theology, and including virtually all disciplines.
More than five hundred musical events take place at the University during the aca-
demic year. In addition to recitals by graduate students and faculty artists, the School of
Music presents the Yale Philharmonia, the Oneppo Chamber Music Series, the Elling-
ton Jazz Series, the Horowitz Piano Series, New Music New Haven, Yale Opera, Yale
Choral Artists, and concerts at the Yale Collection of Musical Instruments. The Yale
Summer School of Music/Norfolk Chamber Music Festival presents the New Music
Workshop and the Chamber Choir and Choral Conducting Workshop, in addition to
the six-week Chamber Music Session. Many of these concerts stream live on the School’s
website (https://music.yale.edu), the Norfolk website (https://norfolk.yale.edu), and
the Collection of Musical Instruments website (https://collection.yale.edu). Addition-
ally, the School presents the Iseman Broadcasts of the Metropolitan Opera Live in HD
free to members of the Yale community. Undergraduate organizations include the Yale
Bands, the Yale Glee Club, the Yale Symphony Orchestra, and numerous other singing
and instrumental groups. The Department of Music sponsors the Yale Collegium, Yale
Baroque Opera Project, productions of new music and opera, and undergraduate recitals.
The Institute of Sacred Music presents Great Organ Music at Yale, the Yale Camerata,
the Yale Schola Cantorum, and many other special events.
For theatergoers, Yale and New Haven o≠er a wide range of dramatic productions at
such venues as the University Theatre, Yale Repertory Theatre, Yale Cabaret, Yale Resi-
dential College Theaters, O≠ Broadway Theater, Iseman Theater, Whitney Humanities
Center, Collective Consciousness Theatre, A Broken Umbrella Theatre, Elm Shakespeare
 Yale University Resources and Services   79  

Company, International Festival of Arts and Ideas, Long Wharf Theatre, and Shubert
Performing Arts Center.
The religious and spiritual resources of the University serve all students, faculty,
and sta≠ of all faiths. These resources are coordinated and/or supported through the
Chaplaincy (located on the lower level of Bingham Hall on Old Campus); the Uni-
versity Church in Yale in Battell Chapel, an open and a∞rming ecumenical Christian
congregation; and Yale Religious Ministries, the on-campus association of profession-
als representing numerous faith traditions. This association includes the Saint Thomas
More Catholic Chapel and Center at Yale and the Joseph Slifka Center for Jewish Life at
Yale, and it supports Buddhist, Hindu, and Muslim life professionals; several Protestant
denominational and nondenominational ministries; and student religious groups such as
the Baha’i Association, the Yale Hindu Student Council, the Muslim Student Association,
the Sikh Student Association, and many others. Hours for the Chaplain’s O∞ce during
the academic term are Monday through Thursday from 8:30 a.m. to 11 p.m., Friday from
8:30 a.m. to 5 p.m., and Sunday evenings from 5 to 11. Additional information is available
at http://chaplain.yale.edu.

Graduate and Professional Student Senate

(GPSS)
The Graduate and Professional Student Senate (GPSS or “Yale Senate”) is composed
of student-elected representatives from each of the thirteen graduate and professional
schools at Yale. Any student enrolled in these schools is eligible to run for a senate seat
during fall elections. As a governing body, the GPSS advocates for student concerns
and advancement within Yale, represents all graduate and professional students to the
outside world, and facilitates interaction and collaboration among the schools through
social gatherings, academic or professional events, and community service. GPSS meet-
ings occur on alternating Thursdays and are open to the entire graduate and professional
school community, as well as representatives from the Yale administration. GPSS also
oversees the management of the Graduate and Professional Student Center, located at
204 York Street. The center provides o∞ce and event space for GPSS and other student
organizations and houses Gryphon’s Pub. For more information, please visit https://
gpsenate.yale.edu.

ATHLETIC FACILITIES
The Payne Whitney Gymnasium is one of the most elaborate and extensive indoor ath-
letic facilities in the world. This complex includes the 3,100-seat John J. Lee Amphithe-
ater, the site for many indoor varsity sports contests; the Robert J. H. Kiphuth Exhibition
Pool; the Brady Squash Center, a world-class facility with fifteen international-style
courts; the Adrian C. Israel Fitness Center, a state-of-the-art exercise and weight-training
complex; the Brooks-Dwyer Varsity Strength and Conditioning Center; the Colonel
William K. Lanman, Jr. Center, a 30,000-square-foot space for recreational/intramural
play and varsity team practice; the Greenberg Brothers Track, an eighth-mile indoor
jogging track; the David Paterson Golf Technology Center; and other rooms devoted
80   School of Art, 2019–2020

to fencing, gymnastics, rowing, wrestling, martial arts, general exercise, and dance.
Numerous physical education classes in dance (ballet, modern, and ballroom, among
others), martial arts, zumba, yoga, pilates, aerobic exercise, and sport skills are o≠ered
throughout the year. Yale undergraduates and graduate and professional school students
may use the gym at no charge throughout the year. Academic term and summer member-
ships at reasonable fees are available for faculty, employees, postdoctoral and visiting fel-
lows, alumni, and student spouses. Additional information is available online at https://
sportsandrecreation.yale.edu.
During the year various recreational opportunities are available at the David S. Ingalls
Rink, the McNay Family Sailing Center in Branford, the Yale Outdoor Education Center
in East Lyme, the Yale Tennis Complex, and the Golf Course at Yale. Students, faculty,
employees, students’ spouses, and guests of the University may participate at each of
these venues for a modest fee. Up-to-date information on programs, hours, and specific
costs is available online at https://sportsandrecreation.yale.edu.
Approximately fifty club sports come under the jurisdiction of the O∞ce of Outdoor
Education and Club Sports. Most of the teams are for undergraduates, but a few are
available to graduate and professional school students. Yale undergraduates, graduate
and professional school students, faculty, sta≠, and alumni/ae may use the Yale Out-
door Education Center (OEC), which consists of 1,500 acres surrounding a mile-long
lake in East Lyme, Connecticut. The facility includes overnight cabins and campsites, a
pavilion and dining hall available for group rental, and a waterfront area with supervised
swimming, rowboats, canoes, stand-up paddleboards, and kayaks. Adjacent to the lake,
a shaded picnic grove and gazebo are available to visitors. In a more remote area of the
facility, hiking trails loop the north end of the property; trail maps and directions are
available on-site at the field o∞ce. The OEC runs seven days a week from the third week
of June through Labor Day. For more information, including mid-September weekend
availability, call 203.432.2492 or visit https://sportsandrecreation.yale.edu.
Throughout the year, Yale graduate and professional school students have the
opportunity to participate in numerous intramural sports activities. These seasonal,
team-oriented activities include volleyball, soccer, and softball in the fall; basketball
and volleyball in the winter; softball, soccer, ultimate, and volleyball in the spring; and
softball in the summer. With few exceptions, all academic-year graduate-professional
student sports activities are scheduled on weekends, and most sports activities are open
to competitive, recreational, and coeducational teams. More information is available
from the Intramurals O∞ce in Payne Whitney Gymnasium, 203.432.2487, or online at
https://sportsandrecreation.yale.edu.

Health Services
The Yale Health Center is located on campus at 55 Lock Street. The center is home to Yale
Health, a not-for-profit, physician-led health coverage option that o≠ers a wide variety
of health care services for students and other members of the Yale community. Services
include student health, gynecology, mental health, pediatrics, pharmacy, laboratory, radi-
ology, a seventeen-bed inpatient care unit, a round-the-clock acute care clinic, and spe-
cialty services such as allergy, dermatology, orthopedics, and a travel clinic. Yale Health
 Yale University Resources and Services   81  

coordinates and provides payment for the services provided at the Yale Health Center, as
well as for emergency treatment, o≠-site specialty services, inpatient hospital care, and
other ancillary services. Yale Health’s services are detailed in the Yale Health Student Hand-
book, available through the Yale Health Member Services Department, 203.432.0246, or
online at https://yalehealth.yale.edu/coverage/student-coverage.

Eligibility for Services

All full-time Yale degree-candidate students who are paying at least half tuition are
enrolled automatically for Yale Health Basic Coverage. Yale Health Basic Coverage is
o≠ered at no charge and includes preventive health and medical services in the depart-
ments of Student Health, Gynecology, Student Wellness, and Mental Health & Coun-
seling. In addition, treatment for urgent medical problems can be obtained twenty-four
hours a day through Acute Care.
Students on leave of absence or on extended study and paying less than half tuition are
not eligible for Yale Health Basic Coverage but may enroll in Yale Health Student A∞liate
Coverage. Students enrolled in the Division of Special Registration as nondegree special
students or visiting scholars are not eligible for Yale Health Basic Coverage but may enroll
in the Yale Health Billed Associates Plan and pay a monthly fee. Associates must register
for a minimum of one term within the first thirty days of a∞liation with the University.
Students not eligible for Yale Health Basic Coverage may also use the services on a
fee-for-service basis. Students who wish to be seen fee-for-service must register with
the Member Services Department. Enrollment applications for the Yale Health Student
A∞liate Coverage, Billed Associates Plan, or Fee-for-Service Program are available from
the Member Services Department.
All students who purchase Yale Health Hospitalization/Specialty Coverage (see
below) are welcome to use specialty and ancillary services at Yale Health Center. Upon
referral, Yale Health will cover the cost of specialty and ancillary services for these stu-
dents. Students with an alternate insurance plan should seek specialty services from a
provider who accepts their alternate insurance.

Health Coverage Enrollment

The University also requires all students eligible for Yale Health Basic Coverage to have
adequate hospital insurance coverage. Students may choose Yale Health Hospitalization/
Specialty Coverage or elect to waive the plan if they have other hospitalization coverage,
such as coverage through a spouse or parent. The waiver must be renewed annually,
and it is the student’s responsibility to confirm receipt of the waiver by the University’s
deadlines noted below.

Yale Health Hospitalization/Specialty Coverage

For a detailed explanation of this plan, which includes coverage for prescriptions, see the
Yale Health Student Handbook, available online at https://yalehealth.yale.edu/coverage/
student-coverage.
Students are automatically enrolled and charged a fee each term on their Student
Financial Services bill for Yale Health Hospitalization/Specialty Coverage. Students with
82   School of Art, 2019–2020

no break in coverage who are enrolled during both the fall and spring terms are billed
each term and are covered from August 1 through July 31. For students entering Yale for
the first time, readmitted students, and students returning from a leave of absence who
have not been covered during their leave, Yale Health Hospitalization/Specialty Coverage
begins on the day the dormitories o∞cially open. A student who is enrolled for the fall
term only is covered for services through January 31; a student enrolled for the spring
term only is covered for services through July 31.
Waiving Yale Health Hospitalization/Specialty Coverage  Students are permitted to
waive Yale Health Hospitalization/Specialty Coverage by completing an online waiver
form at https://yhpstudentwaiver.yale.edu that demonstrates proof of alternate cover-
age. It is the student’s responsibility to report any changes in alternate insurance coverage
to the Member Services Department. Students are encouraged to review their present
coverage and compare its benefits to those available under Yale Health. The waiver form
must be filed annually and must be received by September 15 for the full year or fall term
or by January 31 for the spring term only.

Revoking the waiver  Students who waive Yale Health Hospitalization/Specialty Cover-
age but later wish to be covered must complete and send a form voiding their waiver to
the Member Services Department by September 15 for the full year or fall term, or by
January 31 for the spring term only. Students who wish to revoke their waiver during the
term may do so, provided they show proof of loss of the alternate insurance plan and
enroll within thirty days of the loss of this coverage. Yale Health fees will not be prorated.

Yale Health Student Dependent Plans

A student may enroll the student’s lawfully married spouse or civil union partner and/or
legally dependent child(ren) under the age of twenty-six in one of three student depen-
dent plans: Student + Spouse, Student + Child/Children, or Student Family Plan. These
plans include services described in both Yale Health Basic Coverage and Yale Health
Hospitalization/Specialty Coverage. Coverage is not automatic, and enrollment is by
application. Applications are available from the Member Services Department or can be
downloaded from the website (https://yalehealth.yale.edu/resources/forms) and must
be renewed annually. Applications must be received by September 15 for full-year or fall-
term coverage, or by January 31 for spring-term coverage only.

Yale Health Student Affiliate Coverage

Students on leave of absence or extended study, students paying less than half tuition,
students enrolled in the EMBA program, students enrolled in the PA Online program,
or students enrolled in the Eli Whitney Program prior to September 2007 may enroll
in Yale Health Student A∞liate Coverage, which includes services described in both
Yale Health Basic and Yale Health Hospitalization/Specialty Coverage. Applications are
available from the Member Services Department or can be downloaded from the website
(https://yalehealth.yale.edu/resources/forms) and must be received by September 15 for
full-year or fall-term coverage, or by January 31 for spring-term coverage only.
 Yale University Resources and Services   83  

Eligibility Changes
Withdrawal  A student who withdraws from the University during the first fifteen days
of the term will be refunded the fee paid for Yale Health Hospitalization/Specialty Cover-
age. The student will not be eligible for any Yale Health benefits, and the student’s Yale
Health membership will be terminated retroactive to the beginning of the term. The
medical record will be reviewed, and any services rendered and/or claims paid will be
billed to the student on a fee-for-service basis. Assistance with identifying and locating
alternative sources of medical care may be available from the Care Management Depart-
ment at Yale Health. At all other times, a student who withdraws from the University will
be covered by Yale Health for thirty days following the date of withdrawal. Fees will not
be prorated or refunded. Students who withdraw are not eligible to enroll in Yale Health
Student A∞liate Coverage. Regardless of enrollment in Yale Health Hospitalization/
Specialty Coverage, students who withdraw will have access to services available under
Yale Health Basic Coverage (including Student Health, Athletic Medicine, Mental Health
& Counseling, and Care Management) during these thirty days to the extent necessary
for a coordinated transition of care.

Leaves of absence  Students who are granted a leave of absence are eligible to purchase
Yale Health Student A∞liate Coverage for the term(s) of the leave. If the leave occurs on
or before the first day of classes, Yale Health Hospitalization/Specialty Coverage will end
retroactive to the start of the coverage period for the term. If the leave occurs anytime
after the first day of classes, Yale Health Hospitalization/Specialty Coverage will end on
the day the registrar is notified of the leave. In either case, students may enroll in Yale
Health Student A∞liate Coverage. Students must enroll in A∞liate Coverage prior to
the beginning of the term unless the registrar is notified after the first day of classes, in
which case, the coverage must be purchased within thirty days of the date the registrar
was notified. Fees paid for Yale Health Hospitalization/Specialty Coverage will be applied
toward the cost of A∞liate Coverage. Coverage is not automatic, and enrollment forms
are available at the Member Services Department or can be downloaded from the website
(https://yalehealth.yale.edu/resources/forms). Fees will not be prorated or refunded.

Extended study or reduced tuition  Students who are granted extended study status or
pay less than half tuition are not eligible for Yale Health Hospitalization/Specialty Cov-
erage. They may purchase Yale Health Student A∞liate Coverage during the term(s) of
extended study. This plan includes services described in both Yale Health Basic and Yale
Health Hospitalization/Specialty Coverage. Coverage is not automatic, and enrollment
forms are available at the Member Services Department or can be downloaded from
the website (https://yalehealth.yale.edu/resources/forms). Students must complete an
enrollment application for the plan prior to September 15 for the full year or fall term, or
by January 31 for the spring term only.

For a full description of the services and benefits provided by Yale Health, please refer
to the Yale Health Student Handbook, available from the Member Services Department,
203.432.0246, 55 Lock Street, PO Box 208237, New Haven CT 06520-8237.
84   School of Art, 2019–2020

Required Immunizations
Proof of vaccination is a pre-entrance requirement determined by the Connecticut State
Department of Public Health. Students who are not compliant with this state regulation
will not be permitted to register for classes or move into the dormitories for the fall term,
2019. Please access the Incoming Student Vaccination Record form for graduate and
professional students at https://yalehealth.yale.edu/new-graduate-and-professional-
student-forms. Connecticut state regulation requires that this form be completed and
signed, for each student, by a physician, nurse practitioner, or physician’s assistant. The
form must be completed, independent of any and all health insurance elections or cover-
age chosen. Once the form has been completed, the information must be entered into the
Yale Medicat online system (available mid-June), and all supporting documents must be
uploaded to http://yale.medicatconnect.com. The final deadline is August 1.

Measles, mumps, rubella, and varicella  All students who were born after January 1,
1957, are required to provide proof of immunization against measles (rubeola), mumps,
German measles (rubella), and varicella. Connecticut state regulation requires two doses
of measles vaccine, two doses of mumps vaccine, two doses of rubella vaccine, and two
doses of varicella vaccine. The first dose must have been given on or after January 1, 1980,
and after the student’s first birthday; the second dose must have been given at least thirty
(30) days after the first dose. If dates of vaccination are not available, titer results (blood
test) demonstrating immunity may be substituted for proof of vaccination. The cost for
all vaccinations and/or titers rests with the student, as these vaccinations are considered
to be a pre-entrance requirement by the Connecticut State Department of Public Health.
Students who are not compliant with this state regulation will not be permitted to register
for classes or move into the dormitories for the fall term, 2019.

Quadrivalent meningitis  All students living in on-campus dormitory facilities must be

vaccinated against meningitis. The only vaccines that will be accepted in satisfaction of
the meningitis vaccination requirement are ACWY Vax, Menveo, Nimenrix, Menactra,
Mencevax, and Menomune. The vaccine must have been given within five years of the
first day of classes at Yale. Students who are not compliant with this state regulation
will not be permitted to register for classes or move into the dormitories for the fall
term, 2019. The cost for all vaccinations and/or titers rests with the student, as these
vaccinations are considered to be a pre-entrance requirement by the Connecticut State
Department of Public Health. Please note that the State of Connecticut does not require
this vaccine for students who intend to reside o≠ campus.

TB screening  The University requires tuberculosis screening for all incoming students
who have lived or traveled outside of the United States within the past year.

Hepatitis B series  The University recommends that incoming students receive a series
of three Hepatitis B vaccinations. Students may consult their health care provider for
further information.
 Yale University Resources and Services   85  

Housing and Dining

The Yale Housing O∞ce has dormitory and apartment units available for graduate and
professional students. Dormitories are single-occupancy and two-bedroom units of
varying sizes and prices. They are located across the campus, from Edward S. Harkness
Memorial Hall, serving the medical campus, to Helen Hadley Hall and the newly built
272 Elm Street, serving the central/science campus. Unfurnished apartments consisting
of e∞ciencies and one-, two-, and three-bedroom apartments for singles and families are
also available. Family housing is available in Whitehall and Esplanade Apartments. The
Housing website (https://housing.yale.edu) is the venue for graduate housing informa-
tion and includes dates, procedures, facility descriptions, floor plans, and rates. Applica-
tions for the new academic year are available beginning April 22 and can be submitted
directly from the website with a Yale NetID.
The Yale Housing O∞ce also manages the O≠ Campus Living listing service (http://
o≠campusliving.yale.edu; 203.436.9756), which is the exclusive Yale service for provid-
ing o≠-campus rental and sales listings. This secure system allows members of the Yale
community to search rental listings, review landlord/property ratings, and search for a
roommate in the New Haven area. On-campus housing is limited, and members of the
community should consider o≠-campus options. Yale University discourages the use of
Craigslist and other third-party nonsecure websites for o≠-campus housing searches.
The Yale Housing O∞ce is located in Helen Hadley Hall (HHH) at 420 Temple Street
and is open from 9 a.m. to 4 p.m., Monday through Friday; 203.432.2167.
Yale Hospitality has tailored its services to meet the particular needs of graduate
and professional school students by o≠ering meal plan options that allow flexibility and
value. For up-to-date information on all options, costs, and residential and retail dining
locations, visit https://hospitality.yale.edu. Inquiries concerning food services should
be addressed to Yale Hospitality, 246 Church Street, PO Box 208261, New Haven CT
06520-8261; e-mail, yale.dining@yale.edu; tel., 203.432.0420.

Office of International Students

and Scholars
The O∞ce of International Students and Scholars (OISS) coordinates services and sup-
port for Yale’s nearly 6,000 international students, faculty, sta≠, and their dependents.
OISS sta≠ assist with issues related to employment, immigration, and personal and
cultural adjustment, as well as serve as a source of general information about living at
Yale and in New Haven. As Yale University’s representative for immigration concerns,
OISS helps students, faculty, and sta≠ obtain and maintain legal nonimmigrant status
in the United States. All international students and scholars must register with OISS as
soon as they arrive at Yale; see http://oiss.yale.edu/coming.
OISS programs, like the Community Friends hosting program, daily English con-
versation groups, U.S. culture workshops and discussions, bus trips, and social events,
provide an opportunity to meet members of Yale’s international community and become
acquainted with the many resources of Yale University and New Haven. Spouses and
86   School of Art, 2019–2020

partners of Yale students and scholars will want to get involved with the International
Spouses and Partners at Yale (ISPY), which organizes a variety of programs.
The OISS website (http://oiss.yale.edu) provides useful information to students and
scholars prior to and upon arrival in New Haven, as well as throughout their stay at Yale.
International students, scholars, and their families and partners can connect with OISS
and the Yale international community virtually through Facebook.
OISS is housed in the International Center for Yale Students and Scholars, which
serves as a welcoming venue for students and scholars who want to peruse resource
materials, check their e-mail, and meet up with a friend or colleague. Open until 9 p.m.
on weekdays during the academic year, the center—located at 421 Temple Street, across
the street from Helen Hadley Hall—also provides meeting space for student groups and
a venue for events organized by both student groups and University departments. For
more information about reserving space at the center, go to http://oiss.yale.edu/about/
the-international-center/international-center-room-reservations. For information about
the center, visit http://oiss.yale.edu/about/international-center.

Resource Office on Disabilities

The Resource O∞ce on Disabilities (ROD) facilitates accommodations for all Yale stu-
dents with disabilities who register with and have appropriate medical documentation
on file in the ROD. Documentation may be submitted to the ROD even though a specific
accommodation request is not anticipated at the time of registration. Early planning is
critical. Requests for housing accommodations must be made in the housing application.
The required first step for a student with a disability is to contact the Resource O∞ce on
Disabilities to initiate the process of obtaining disability-related accommodations; see
https://yale-accommodate.symplicity.com/public_accommodation. Registration with
the ROD is confidential.
Generally, a student requiring academic accommodations needs to let the ROD know
at the start of each term. We ask students to complete this step as soon as their schedule is
known. At any time during a term, students with a newly diagnosed disability or recently
sustained injury requiring accommodations should contact the ROD. More information
can be found on our website, https://rod.yale.edu, including instructions for requesting
or renewing accommodations. You can also reach us by phone at 203.432.2324.

Resources on Sexual Misconduct

Yale University is committed to maintaining and strengthening an educational, work-
ing, and living environment founded on civility and mutual respect. Sexual misconduct
is antithetical to the standards and ideals of our community, and it is a violation of Yale
policy and the disciplinary regulations of Yale College and the graduate and professional
schools.
Sexual misconduct incorporates a range of behaviors including sexual assault, sexual
harassment, intimate partner violence, stalking, voyeurism, and any other conduct
of a sexual nature that is nonconsensual, or has the purpose or e≠ect of threatening,
intimidating, or coercing a person. Violations of Yale’s Policy on Teacher-Student
 Yale University Resources and Services   87  

Consensual Relations also constitute sexual misconduct. Sexual activity requires consent,
which is defined as positive, unambiguous, and voluntary agreement to engage in specific
sexual activity throughout a sexual encounter.
Yale aims to eradicate sexual misconduct through education, training, clear policies,
and serious consequences for violations of these policies. In addition to being subject
to University disciplinary action, many forms of sexual misconduct are prohibited by
Connecticut and federal law and may lead to civil liability or criminal prosecution. Yale
provides a range of services, resources, and mechanisms for victims of sexual misconduct.
The options for undergraduate, graduate, and professional school students are described
at https://smr.yale.edu.

SHARE: Information, Advocacy, and Support

55 Lock Street, Lower Level
O∞ce hours: 9 a.m.–5 p.m., M–F
24/7 hotline: 203.432.2000
https://sharecenter.yale.edu

SHARE, the Sexual Harassment and Assault Response and Education Center, has trained
counselors available 24/7, including holidays. SHARE is available to members of the Yale
community who wish to discuss any current or past experience of sexual misconduct
involving themselves or someone they care about. SHARE services are confidential and
can be anonymous if desired. SHARE can provide professional help with medical and
health issues (including accompanying individuals to the hospital or the police), as well
as ongoing counseling and support. SHARE works closely with the University-Wide
Committee on Sexual Misconduct, the Title IX coordinators, the Yale Police Depart-
ment, and other campus resources and can provide assistance with initiating a formal or
informal complaint.
If you wish to make use of SHARE’s services, you can call the SHARE number
(203.432.2000) at any time for a phone consultation or to set up an in-person appoint-
ment. You may also drop in on weekdays during regular business hours. Some legal and
medical options are time-sensitive, so if you have experienced an assault, we encourage
you to call SHARE and/or the Yale Police as soon as possible. Counselors can talk with
you over the telephone or meet you in person at Acute Care in the Yale Health Center or
at the Yale New Haven Emergency Room. If it is not an acute situation and you would
like to contact the SHARE sta≠ during regular business hours, you can contact Jen-
nifer Czincz, the director of SHARE (203.432.0310, jennifer.czincz@yale.edu), Anna
Seidner (203.436.8217, anna.seidner@yale.edu), Cristy Cantu (203.432.2610, cristina.
cantu@yale.edu), Freda Grant (203.436.0409, freda.grant@yale.edu), or John Criscuolo
(203.645.3349, john.criscuolo@yale.edu).
88   School of Art, 2019–2020

Title IX Coordinators
203.432.6854
O∞ce hours: 9 a.m.–5 p.m., M–F
https://provost.yale.edu/title-ix

Title IX of the Education Amendments of 1972 protects people from sex discrimination in
educational programs and activities at institutions that receive federal financial assistance.
Sex discrimination includes sexual harassment, sexual assault, and other forms of
sexual misconduct. The University is committed to providing an environment free from
discrimination on the basis of sex.
Yale College, the Graduate School of Arts and Sciences, and the professional schools
have each designated a deputy Title IX coordinator, reporting to Stephanie Spangler,
Deputy Provost for Health A≠airs and Academic Integrity and the University Title IX
Coordinator. Coordinators respond to and address specific complaints, provide infor-
mation on and coordinate with the available resources, track and monitor incidents to
identify patterns or systemic issues, deliver prevention and educational programming,
and address issues relating to gender-based discrimination and sexual misconduct within
their respective schools. Coordinators are knowledgeable about, and will provide infor-
mation on, all options for complaint resolution, and can initiate institutional action when
necessary. Discussions with a Title IX coordinator are confidential. In the case of immi-
nent threat to an individual or the community, the coordinator may need to consult with
other administrators or take action in the interest of safety. The coordinators also work
closely with the SHARE Center, the University-Wide Committee on Sexual Misconduct,
and the Yale Police Department.

University-Wide Committee on Sexual Misconduct

203.432.4449
O∞ce hours: 9 a.m.–5 p.m., M–F
https://uwc.yale.edu

The University-Wide Committee on Sexual Misconduct (UWC) is an internal disciplin-

ary board for complaints of sexual misconduct available to students, faculty, and sta≠
across the University, as described in the committee’s procedures. The UWC provides
an accessible, representative, and trained body to fairly and expeditiously address formal
complaints of sexual misconduct. UWC members can answer inquiries about procedures
and the University definition of sexual misconduct. The UWC is comprised of faculty,
administrative, and student representatives from across the University. In UWC cases,
investigations are conducted by professional, independent fact finders.
 Yale University Resources and Services   89  

Yale Police Department

101 Ashmun Street
24/7 hotline: 203.432.4400
https://your.yale.edu/community/public-safety/police/sensitive-crimes-support

The Yale Police Department (YPD) operates 24/7 and is comprised of highly trained,
professional o∞cers. The YPD can provide information on available victims’ assistance
services and also has the capacity to perform full criminal investigations. If you wish to
speak with Sergeant Kristina Reech, the Sensitive Crimes & Support coordinator, she can
be reached at 203.432.9547 during business hours or via e-mail at kristina.reech@yale.
edu. Informational sessions are available with the Sensitive Crimes & Support coordina-
tor to discuss safety planning, available options, etc. The YPD works closely with the New
Haven State’s Attorney, the SHARE Center, the University’s Title IX coordinators, and
various other departments within the University. Talking to the YPD does not commit
you to submitting evidence or pressing charges; with few exceptions, all decisions about
how to proceed are up to you.
Visiting Artists and Scholars
In addition to the regular faculty, many visiting artists and scholars participate in the
programs of the various departments o≠ering individual critiques, workshop seminars,
and formal lectures. Visiting artists and scholars in recent years have included:

Michele Abeles Marvin Gaye Chetwynd Roe Ethridge

Nina Chanel Abney Yoonjai Choi Theresa Fairbanks-Harris
Niv Acosta Leidy Churchman Edie Fake
Marina Adams Joanna Claire Keltie Ferris
Farah Al Qasimi Grace Coddington Jack Ferver
Diana Al-Hadid Teju Cole Alexander Fleming
Ricci Albenda Lois Conner Derek Fordjour
Laylah Ali Fiona Connor Arthur Fournier
David Altmejd Julie Corman Eve Fowler
Nientara Anderson Lourdes Correa Andrea Fraser
Kamrooz Aram Reginald Cox Dennis Freedman
Assemble Liz Craft Martha Friedman
Juan Astasio Soriano Njideka Akunyili Crosby Coco Fusco
Charles Atlas Maia Cruz Palileo Genevieve Gaignard
Danielle Aubert David Kennedy Cutler Shiraz Gallab
Ariella Azoulay Alex Da Corte Lucy Gallun
Xyza Cruz Bacani Jen Davis Chitra Ganesh
Matthew Barney Sue de Beer Lia Gangitano
Marion Belanger Jacqueline de Jong Maria Gaspar
Sonia Ben Slama Dana DeGiulio Daphne Geismar
Alissa Bennett Liz Deschenes Jackie Gendel
David Bennewith Abigail DeVille Rob Giampietro
Judith Bernstein Elizabeth DeVita Melvin Gibbons
Huma Bhabha Marianna Diallo Sam Gilliam
Bradley Biancardi Harry Dodge Malcolm Gladwell
Andrea Blum Erich Doubek James Goggin
Anya Bokov Whitney Dow Samara Golden
Daniel Bozhkov Kate Doyle Gri∞ths Sam Gordon
Katherine Bradford Jenny Drumgoole Michelle Grabner
Rizvana Bradley Doug DuBois Francesca Grassi
Sascha Braunig Carroll Dunham Michael Greenblatt
A.K. Burns Aliza Dzik Miguel Gutierrez
Tom Burr Jarrett Earnest Jiminie Ha
Felix Burrichter John Edmonds Bruce Hainley
David Campany Thomas Eggerer Peter Halley
Andrianna Campbell Peter Eleey Josephine Halvorson
Michelle Castañeda Amanda Ellison Barbara Hammer
Tomaš Celizna Darby English Geo≠ Han
Alejandro Cesarco Mitch Epstein Stefano Harney
 Visiting Artists and Scholars   91  

Lyle Ashton Harris Hyo Kwon Chris Ofili

John Harwood Deana Lawson Min Oh
Berton Hasebe Jason Lazarus Ken Okiishi
Curran Hatleberg An-My Lê Christian Oldham
Erwin Hauer Austin Lee B. Ingrid Olson
Richard Hawkins Margaret Lee Christine Osinski
Daniel Heidkamp Annie Leibovitz Genesis P-Orridge
Mary Heilmann Laura Letinsky Jennifer Packer
Camille Henrot Sarah Lewis Maziyar Pahlevan
Leslie Hewitt Tony Lewis Daniel Palmer
Thomas Hirschhorn Beverly Liang Elle Pérez
Jim Hodges Susan Lipper Sondra Perry
Dana Hoey Tod Lippy Ramon Persson
Eric Ho≠man Natasha Marie Llorens Dushko Petrovich
Roni Horn Michelle Lopez Paul Pfei≠er
Susan Howe Clara López Menéndez Lorella Praeli
Anna Sew Hoy Miguel Luciano Robert Priest
Whitney Hubbs Ken Lum Richard Prince
Allyn Hughes Eve Lyons Paul Pryce
Kahlil Irving Robert Lyons Jonathan Puckey
Shannon Jackson Richard Lytle Ronny Quevedo
Jessica Jackson Hutchins Eric Mack Walid Raad
Ashley James Steen Madsen Michael Rader
Natasha Jen Cameron Martin Manuel Raeder
Paddy Johnson Chris Martin Sara Greenberger Ra≠erty
Sarah Anne Johnson Courtney Martin Yvonne Rainer
David Joselit Daniel Joseph Martinez Claudia Rankine
Jennifer Kabat Elisabeth Mayer Lucy Raven
E Roon Kang Park McArthur Will Rawls
Alexander Kantarovsky Marlene McCarthy Benjamin Reichen
Ruba Katrib Suzanne McClelland David Reinfurt
Simone Kearney Tom McDonough Eva Respini
Angie Keefer Ryan McGinley Whitney Richardson
Matt Keegan Michael Jones McKean JiEun Rim
Mary Reid Kelley Julie Mehretu Tabor Robak
Patrick Kelley Madsen Minax Jacob Robichaux
Patrick Killoran Marilyn Minter Hanneline Røgeberg
Kelly Kivland Naeem Mohaiemen Guadalupe Rosales
Kapwani Kiwanga Rebecca Morris Douglas Rosenberg
Christopher Klatell Ulrike Müller Marina Rosenfeld
Alex Klein Laura Mulvey Judith Joy Ross
Christoph Knoth Silas Munro Amanda Ross-Ho
Fawn Krieger Laurel Nakadate Mika Rottenberg
Ajay Kurian Alexander Nemerov Ben Rubin
Justine Kurland Margot Norton Kathleen Ryan
92   School of Art, 2019–2020

Jacolby Satterwhite Laurel Sparks Ka-Man Tse

Peter Saul Starhawk Richard Tuttle
Je≠rey Schi≠ Anika Steppe Harm van den Dorpel
Dana Schutz Joel Sternfeld Joep Van Lieshout
Je≠rey Scudder Elaine Stocki James Welling
Paul Sepuya Zoe Strauss Didier William
Arlene Shechet Tom Strong William T. Williams
Erin Shirre≠ Eve Sussman Letha Wilson
Tony Shore Jessica Svendsen Carmen Winant
Anna Shteynshleyger Marc Swanson Terry Winters
Amie Siegel Michael Swanson Karen Wong
Katrín Sigurðardóttir Ilona Szwarc Sarah Workneh
Amy Sillman Lumi Tan Yan Xing
Igor Simic Luz-Maria Tan Dena Yago
Taryn Simon Jeannine Tang Carrie Yamaoka
Lorna Simpson Robert Taplin Anicka Yi
Amy Smith Hank Willis Thomas Forest Young
Kiki Smith Mickalene Thomas David Yun
Michael Smith Cheyney Thompson Craig Zammiello
Pamela Sneed Benjamin Timpson
Fannie Sosa Jalal Toufic
Omar Sosa Eugenie Tsai
Annual Awards
Fellowships
The Alice Kimball English Traveling Fellowships, the School’s oldest and largest endowed
fellowships, established in 1893, are awarded annually for travel and study.
The Critical Practice Research Fellowship is awarded to a distinguished student in the
Critical Practice course, for the purpose of attending critical contemporary art exhibitions
and events abroad between the first and second years of study.
The Robert Schoelkopf Memorial Traveling Fellowship is awarded annually to a painting/
printmaking student for travel abroad between the first and second years of study.

Prizes
The following prizes are awarded annually to enrolled students who have demonstrated
exceptional achievement:

Richard Benson Prize for excellence in photography, leadership within the program, and
a desire to teach
Blair Dickinson Memorial Prize for the woman whose whole person demonstrates
a developing consciousness, a personal vision, and a spirit of search
Gloucester Landscape Painting Prize for excellence in landscape painting
H. Lee Hirsche Memorial Prize for exemplary creativity and imagination
Ralph Mayer Prize for proficiency in materials and techniques
Fannie B. Pardee Prize for excellence in sculpture
Schickle-Collingwood Prize in recognition of exceptional development and progress
by a first-year student
Carol Schlosberg Memorial Prize for excellence in painting
Bradbury Thompson Memorial Prize for consistent excellence in graphic design
Ethel Childe Walker Prize in recognition of exceptional artistic development by
an undergraduate student majoring in art

Honorary Awards
The following honorary awards are made each year by the faculty and the dean to enrolled
students, on the basis of professional promise:

Phelps Berdan Memorial Award for distinction in painting/printmaking

George R. Bunker Award in recognition of an outstanding student in painting/
printmaking
Ward Cheney Memorial Award in recognition of outstanding achievement in
performance and composition
Elizabeth Canfield Hicks Award for outstanding achievement in drawing or painting
from nature
Rebecca Taylor Porter Award for distinction in sculpture
Ely Harwood Schless Award for excellence in painting
John Ferguson Weir Award in recognition of an outstanding student in the School
94   School of Art, 2019–2020

Susan H. Whedon Award in recognition of an outstanding student in sculpture

Helen Watson Winternitz Award in recognition of an outstanding student in painting/
printmaking

Award Recipients, 2018

Fellowships
Alice Kimball English Traveling Fellowships, Dho Yee Chung, Felix Davey, Alfredo Diaz,
Kanthy Peng
Critical Practice Research Fellowships, Genesis Baez, Phoebe Helander, Willis Kingery,
Suzanna Zak
Robert Schoelkopf Memorial Traveling Fellowship, Esteban Ramon Perez

Prizes
Richard Benson Prizes, Dannielle Nicole Bowman, Penn Chan,
Kathryn Elizabeth Harrison
Blair Dickinson Memorial Prize, Camille Alice Altay III
Gloucester Landscape Painting Prize, Blair Whiteford
Ralph Mayer Prize, Alexandria Lyn Mento
Fannie B. Pardee Prize, John Drue Scott Worrell
Schickle-Collingwood Prize, Azza El Siddique
Carol Schlosberg Memorial Prize, Maya Grace Strauss
Bradbury Thompson Memorial Prize, Christine Fae Zavesky
Ethel Childe Walker Prize, Caroline Tisdale

Honorary awards
Phelps Berdan Memorial Award, Matthew Taylor Wol≠
George R. Bunker Award, Brian Dario
Ward Cheney Memorial Awards, Jennifer Helene Calivas, Daniel James Swindel
Elizabeth Canfield Hicks Award, Wyatt Lasky
Rebecca Taylor Porter Award, Bryce Sutton Wilner
Ely Harwood Schless Memorial Fund Award, Daniel Joseph Ginsburg
John Ferguson Weir Awards, Jillian Germaine Freyer, Lucas Libera Moore,
Evelyn Louise Pustka
Susan H. Whedon Award, Sula Fay Bermudez-Silverman
Helen W. Winternitz Award, Natalie Marie Ball

Accolades
Beinecke Library Research Fellowship, Soomin Shon
Dumphries House Residencies, Emilie Gossiaux, Emma Gregoline
Fondazione Antonio Ratti, CSAV Artists Research Laboratory, Petra Hjartardottir
Gamblin Paint Prize, Kimberly Altomare
Institute of Investigative Living Residencies at A-Z West Joshua Tree, Rosa McElheny,
Diego Palacios, Tajh-Jamal Rust
Toby Devan Lewis Fellowships, Kenturah Davis, Justine Melford-Colegate
Le Scuola di Palazzo Te, Mantua, Italy, Simone Cutri, Ian Page
SOMA Summer, Mexico City, Mexico, Leila Seyedzadeh
 Annual Awards   95  

Yale Prison Education Initiative Teaching Fellowships, Ernest Arthur Bryant III,
Daniel Joseph Ginsburg, Clare Kambhu, Nathan Je≠rey Barros da Costa Pyper,
Julia Ann Frances Rooney

Alumni awards
The following distinguished awards were made to School of Art alumni in 2018:

Art Matters Foundation Grants, Natalie Ball (M.F.A. Painting/Printmaking 2018),

Lauren Halsey (M.F.A. Sculpture 2014), Titus Kaphar (M.F.A. Painting/
Printmaking 2006)
Distinguished Artist Award for Lifetime Achievement, College Art Association, Howardena
Pindell (M.F.A. Painting/Printmaking 1967)
W.E.B. Du Bois Medal, Harvard University, Kehinde Wiley (M.F.A. Painting/
Printmaking 2001)
Frieze Artist Award, Lauren Halsey (M.F.A. Sculpture 2014)
John D. and Catherine T. MacArthur Fellow, Titus Kaphar (M.F.A. Painting/
Printmaking 2006)
Mass Cultural Council Fellowship in Sculpture, Lucy Kim (M.F.A. Painting/Printmaking
2007)
Mohn Award, Hammer Museum, Lauren Halsey (M.F.A. Sculpture 2014)
Degrees and Enrollment
Master of Fine Arts Degrees Conferred, 2018
Camille Alice Altay III, Painting/Printmaking
Nilas Kaalund Andersen, Graphic Design
Felipe De Jesús Baeza, Painting/Printmaking
Natalie Marie Ball, Painting/Printmaking
Sula Fay Bermudez-Silverman, Sculpture
Guillaume Pierre Louis Edouard Boucher, Graphic Design
Dannielle Nicole Bowman, Photography
Ernest Arthur Bryant III, Painting/Printmaking
Jennifer Helene Calivas, Photography
Shikeith Cathey, Sculpture
Penn Chan, Photography
Ingrid Chuen-Neng Chen, Graphic Design
Lauren Kyung-Mee Chun, Painting/Printmaking
Brian Dario, Sculpture
Kenturah Davis, Painting/Printmaking
Hicham Samir Faraj, Graphic Design
Jillian Germaine Freyer, Photography
Nicholas Erik Gaby, Sculpture
Muxi Gao, Graphic Design
Daniel Joseph Ginsburg, Painting/Printmaking
Kathryn Elizabeth Harrison, Photography
Pianpian He, Graphic Design
Adam Robert Higgins, Painting/Printmaking
Clare Kambhu, Painting/Printmaking
Kathryn Brett Kerr, Painting/Printmaking
Byungjo Kim, Graphic Design
Wyatt Lasky, Painting/Printmaking
Lacey Lennon, Photography
Leslie Martinez, Painting/Printmaking
Justine Melford-Colegate, Sculpture
Alexandria Lyn Mento, Painting/Printmaking
Lucas Libera Moore, Photography
Kent Isaac O’Connor, Painting/Printmaking
Ian Page, Sculpture
Johnathan Robert Payne, Painting/Printmaking
Estefania Puerta Grisales, Painting/Printmaking
Evelyn Louise Pustka, Photography
Nathan Je≠rey Barros da Costa Pyper, Graphic Design
Antonia Lu-yi Robins Kuo, Painting/Printmaking
Raúl José Romero, Sculpture
Julia Ann Frances Rooney, Painting/Printmaking
Yo-E Ryou, Graphic Design
 Degrees and Enrollment   97  

Ilana Savdie, Painting/Printmaking

Hrefna Sigurðardóttir, Graphic Design
Youngeun Sohn, Graphic Design
Vaughn Spann, Painting/Printmaking
Katelyn Merry Spinelli, Graphic Design
William Scott Stewart, Sculpture
Maya Grace Strauss, Painting/Printmaking
Daniel James Swindel, Photography
Dustin Tong, Graphic Design
Emma Beatrice Gambier Webster, Painting/Printmaking
Bryce Sutton Wilner, Graphic Design
Chase Alexander Wilson, Painting/Printmaking
Matthew Taylor Wol≠, Graphic Design
John Drue Scott Worrell, Sculpture
Valentina Maria Zamfirescu, Sculpture
Christine Fae Zavesky, Graphic Design
Ziwei Zhang, Graphic Design

Enrollment, 2018–2019
Graphic Design
Tania Alvarez Zaldivar (B.F.A. Concordia Univ. [Canada] 2010), Mexico City, Mexico
Herdimas Anggara (B.Sc. Inst. Teknologi Bandung 2012), Dki Jakarta, Indonesia
Kyla Arsadjaja (B.A. La Salle Coll. of Arts [Singapore] 2015), Java, Indonesia
Micah Barrett (B.F.A. Rhode Island School of Design 2012), Providence, R.I.
Milo Bonacci (B.A. Syracuse Univ. 2006), Milwaukee, Wis.
Severin Bunse (B.A. Gerrit Rietveld Acad. [The Netherlands] 2014), Amsterdam,
The Netherlands
Maria Candanoza Hurtado (B.F.A. School of Visual Arts 2013), Brooklyn, N.Y.
Evan Chang (B.F.A. Brigham Young Univ. 2016), San Francisco, Calif.
Hyungseuk Cho (B.F.A. Seoul National Univ. [Republic of Korea] 2012, M.F.A. 2015),
Seoul, Republic of Korea
Dho Yee Chung (B.F.A. Fashion Inst. of Technology 2013), Changwon-
Gyeongsangnam-do, Republic of Korea
Simone Cutri (B.A. ISIA Urbino [Italy] 2015), Conselice, Italy
Jessica Flemming (B.F.A. San Francisco Art Inst. 2012), Valencia, Calif.
Emma Gregoline (B.A. Vassar Coll. 2015), Venice, Calif.
Jinu Hong (B.Arch. Korea Univ. [Republic of Korea] 2017), Seoul, Republic of Korea
Zhiyan Huang (B.F.A. Parsons School of Design 2017), New York, N.Y.
Laura Huaranga (B.F.A. Rhode Island School of Design 2012), Brooklyn, N.Y.
Cindy Hwang (B.A. Yale Univ. 2015), Phoenix, Ariz.
Dawoon Jeon (B.F.A. Ewha Womans Univ. [Republic of Korea] 2016), Seoul,
Republic of Korea
Harin Jung (B.A. Yeungnam Univ. 2014), Daegu, Republic of Korea
Jeong Woo Kim (B.F.A. School of Visual Arts 2013), Seoul, Republic of Korea
Minhwan Kim (B.S. Korea Inst. of Science and Technology 2015), Seoul, Republic of
Korea
98   School of Art, 2019–2020

Willis Kingery (B.A. Hastings Coll. 2011), Brooklyn, N.Y.

David Knowles (B.A. Vassar Coll. 2008), Brooklyn, N.Y.
Zhongkai Li (B.F.A. Central Acad. of Fine Arts [China] 2016), Beijing, China
Kang Ma (B.A. Hunan Univ. [China] 2015), Shenzhen City, China
Rosa McElheny (B.A. Wesleyan Univ. 2011), Brooklyn, N.Y.
Tuan Quoc Pham (B.F.A. School of the Art Inst. of Chicago 2013), Chicago, Ill.
Mengyi Qian (B.F.A. Suzhou Univ. 2017), Suzhou, China
Zack Robbins (B.F.A. Brigham Young Univ. 2013), Brooklyn, N.Y.
Steven Rodriguez (B.A. California State Univ. [Fullerton] 2015), Los Angeles, Calif.
Anna Sagström (B.A. Glasgow School of Art 2009), Fagersta, Sweden
Julia Schäfer (B.A. Zurich Univ. of the Arts 2015), Liestal, Switzerland
Haeok Shin (B.F.A. Dankook Univ. [Republic of Korea] 2010), Gwangju-si,
Republic of Korea
Soomin Shon (B.A. Cornell Univ. 2008), Fort Lee, N.J.
Hua Shu (B.F.A. Univ. Maryland [Baltimore County] 2013), New York, N.Y.
Betty Wang (B.F.A. Rhode Island School of Design 2014), Monmouth Junction, N.J.
Yuanbo Wang (B.A. Central Acad. of Fine Arts [China] 2015), Quanzhou, China
Bryant Wells (B.S. Univ. Cincinnati 2013), Brooklyn, N.Y.
Nicholas Weltyk (B.F.A. Pratt Inst. 2013), Brooklyn, N.Y.
Sam Wood (B.F.A. Brigham Young Univ. 2014), Orem, Utah
Orysia Zabeida (B.A. Univ. Quebec [Montreal] 2016), Montreal, Canada
Wenwen Zhang (B.S. Rutgers Univ. 2017), Qindao, China
Liyan Zhao (A.B. Princeton Univ. 2013), Austin, Tex.

Painting/Printmaking
Kimberly Altomare (B.F.A. Tyler School of Art 2013), Philadelphia, Pa.
Hangama Atiqullo (B.F.A. Nova Scotia Coll. of Art & Design 2012), Halifax,
Nova Scotia, Canada
Braeden Bailey (B.F.A. Southern Methodist Univ. 2016), Plano, Tex.
James Bartolacci (B.A. Brandeis Univ. 2012), Ridgewood, N.Y.
Ana Benaroya (B.F.A. Maryland Inst. Coll. of Art 2008), Jersey City, N.J.
Tim Brawner (B.F.A. Nebraska Wesleyan Univ. 2014), Brooklyn, N.Y.
Kevin Brisco (B.A. Wesleyan Univ. 2013), Memphis, Tenn.
Jacob Broussard (B.F.A. Univ. Louisiana 2010), Carencro, La.
Mariel Capanna (B.F.A. Pennsylvania Acad. of Fine Arts 2012), Philadelphia, Pa.
Jose Chavez-Verduzco (B.A. Univ. California [Davis] 2016), North Hollywood, Calif.
Taylor Clough (B.F.A. Montserrat Coll. of Art 2013), Southbury, Conn.
Gabrielle D’Angelo (B.F.A. Cooper Union 2011, M.Arch. 2012), Brooklyn, N.Y.
Edi Dai (B.A. Univ. California [Irvine] 2010), Los Angeles, Calif.
Krystal DiFronzo (B.F.A. School of the Art Inst. of Chicago 2012), Highland Park, Ill.
Sara Emsaki (B.A. Univ. California [Berkeley] 2016), San Jose, Calif.
Alexander Gibson (B.F.A. Cooper Union 2013), Ridgewood, N.Y.
Ian Goldsborough (B.F.A. Maine Coll. of Art 2014), Falmouth, Mass.
Phoebe Helander (B.A. Hampshire Coll. 2011), Amherst, Mass.
Trevon Latin (B.F.A. Univ. Houston 2015), Houston, Tex.
Naomi Lisiki (B.F.A. Cooper Union 2018), Corona, N.Y.
 Degrees and Enrollment   99  

Lyndsey Marko (B.F.A. School of the Art Inst. of Chicago 2012), Seminole, Fla.
Victoria Martinez (B.F.A. Minneapolis Coll. of Art & Design 2010), Chicago, Ill.
Emile Mausner (B.F.A. Univ. Central Florida 2017), Winter Park, Fla.
Aryana Minai (B.F.A. Art Center Coll. of Design 2016), Glendale, Calif.
Amaryllis Moleski (B.F.A. California Coll. of the Arts 2014), Oakland, Calif.
Rebecca Ness (B.F.A. Boston Univ. 2015), Boston, Mass.
Africanus Okokon (B.F.A. Rhode Island School of Design 2013), Brown Deer, Wis.
Esteban Ramon Perez (B.F.A. California. Inst. of the Arts 2017), Pasadena, Calif.
Dominic Phillips (B.F.A. Milwaukee Inst. of Art & Design 2016), Milwaukee, Wis.
Lauren Quin (B.F.A. School of the Art Inst. of Chicago 2015), Los Angeles, Calif.
Edd Ravn (B.F.A. Glasgow School of Art 2015), Otley, U.K.
Jose de Jesus Rodriguez (B.A. Univ. California [Santa Cruz] 2013), Brooklyn, N.Y.
Maria de los Angeles Rodriguez Jimenez (B.F.A. Cooper Union 2015), Miami, Fla.
Tajh-Jamal Rust (B.F.A. Cooper Union 2011), Brooklyn, N.Y.
Kern Samuel (B.F.A. Cooper Union 2017), Vauxhall, N.J.
Leila Seyedzadeh (B.F.A. Univ. of Science & Culture [Iran] 2014), Tehran, Iran
Carly Sheehan (B.F.A. Massachusetts Coll. of Art 2014), Amesbury, Mass.
Rebecca Shippee (B.F.A. State Univ. New York [Purchase] 2013), Kingston, N.Y.
Michael Shultis (B.F.A. Pennsylvania Acad. of Fine Arts 2012), Brooklyn, N.Y.
Kathia St. Hilaire (B.F.A. Rhode Island School of Design 2017), West Palm Beach, Fla.
Chanel Thomas (B.F.A. School of the Art Inst. of Chicago 2014), Chicago, Ill.
Blair Whiteford (B.F.A. Ringling Coll. of Art & Design 2013), Brooklyn, N.Y.
Ye Qin Zhu (B.F.A. Cooper Union 2010), Brooklyn, N.Y.

Photography
Sara Abbaspour (B.Sc. Ferdowsi Univ. Mashhad [Iran] 2013), Mashhad, Iran
Genesis Baez (B.F.A. Massachusetts Coll. of Art 2012), Philadelphia, Pa.
Molly Berman (B.A. Bard Coll. 2012), Sherman Oaks, Calif.
Angela Chen (B.A. California State Univ. [Los Angeles] 2009), Temple City, Calif.
Deangelo Christian (B.F.A. California. Inst. of the Arts 2017), Long Beach, Calif.
Robert Andy Coombs (B.F.A. Kendall Coll. of Art & Design 2013), Norway, Mich.
Felix Davey (B.A. Edinburgh Napier Univ. 2012), New York, N.Y.
Brian Galderisi (B.F.A. Montserrat Coll. of Art 2012), Dobbs Ferry, N.Y.
Rory Hamovit (B.A. Bard Coll. 2013), Newbury, Mass.
Elizabeth Hibbard (B.A. Univ. California [Santa Cruz] 2012), Morgan Hill, Calif.
Dawn Kim (B.F.A. Art Center Coll. of Design 2011), Brooklyn, N.Y.
Morgan Levy (B.F.A. New York Univ. 2007), Denver, Colo.
Rodrigo Lopez Gomez (B.S. Univ. Iberoamericana [Mexico] 2006), New York, N.Y.
Jane Lowe (B.A. Sarah Lawrence Coll. 2015), New York, N.Y.
Kaitlin Maxwell (B.F.A. School of Visual Arts 2016), Loxahatchee, Fla.
Chase Middleton (B.F.A. RMIT Univ. [Australia] 2016), New South Wales, Australia
Allison Minto (B.A. State Univ. New York [Bu≠alo] 2009), Kew Gardens, N.Y.
Angel Pedro (B.A. DePaul Univ. 2014), Pueblo, Colo.
Kanthy Peng (B.F.A. School of the Art Inst. of Chicago 2016), Beijing, China
Jiajun Wang (B.F.A. California Coll. of the Arts 2016), Hangzhou, China
100   School of Art, 2019–2020

Sculpture
Kristo≠er Ala-Ketola (B.F.A. Univ. of the Arts [Helsinki] 2016), Helsinki, Finland
Nicki Cherry (B.A. Univ. Chicago 2014), Chicago, Ill.
Kerri Conlon (B.F.A. Rhode Island School of Design 2009), San Francisco, Calif.
Alfredo Diaz (B.A. Univ. California [Los Angeles] 2016), Los Angeles, Calif.
Azza El Siddique (B.F.A. Ontario Coll. of Art & Design 2014), Ontario, Canada
Genevieve Go≠man (B.A. Reed Coll. 2015), Washington, D.C.
Emilie Gossiaux (B.F.A. Cooper Union 2014), New York, N.Y.
Petra Hjartardottir (B.F.A. Hunter Coll. [CUNY] 2017), Brooklyn, N.Y.
Lauren Lee (B.A. Univ. Maryland [College Park] 2015), Baltimore, Md.
Efrat Lipkin (B.Ed.F.A. Hamidrasha School of Art 2014), Tel Aviv, Israel
Randi Renate Mabry (B.A., B.F.A. Univ. Texas [Austin] 2014), Berlin, Germany
Anna Miller (B.F.A. Univ. Arizona 2017), Tucson, Ariz.
Catalina Ouyang (B.F.A. Washington Univ. 2015), Saint Louis, Mo.
Diego Palacios (B.F.A. California State Univ. [Long Beach] 2017), San Gabriel, Calif.
Peyton Sarah Peyton (B.F.A. Univ. Georgia 2016), Jacksonville, Fla.
David Roy (B.F.A. Otis Coll. of Art & Design 2013), Inglewood, Calif.
Coral Saucedo (B.F.A. Art Center Coll. of Design 2016), Pasadena, Calif.
Sam Shoemaker (B.F.A. California Inst. of the Arts 2014), Altadena, Calif.
Karinne Smith (B.A. Univ. California [Berkeley] 2013), Rancho Mirage, Calif.
Anne Wu (B.F.A. Cornell Univ. 2013), Flushing, N.Y.
Alex Zak (B.A., B.F.A. School of the Art Inst. of Chicago 2012), New York, N.Y.
Suzanna Zak (B.F.A. Maryland Inst. Coll. of Art 2012), Los Angeles, Calif.

Summary of Enrollment
General Summary
Admissions Information, Fall Term 2018
Applicants 1,149
Applicants admitted 64
Matriculants 61

Student Profile
Graduate students 128
Graphic Design 43
Painting/Printmaking 43
Photography 20
Sculpture 22
Preliminary-year students 8
First-year students 62
Second-year students 58
Female students 75
Male students 53
Age range of students 21–48
Average age of students 29
 Degrees and Enrollment   101  

Mean age of students 29

Undergraduate degrees in fine art 114
Undergraduate degrees in other areas,
e.g., anthropology, architecture, history
of art, literature 14
Institutions represented 89
States represented 20
Foreign countries represented 15

Institutions Represented
One student from each institution unless otherwise indicated.

Art Center College of Design (3) Korea Institute of Science & Technology
Bard College (2) [Republic of Korea]
Boston University Korea University [Republic of Korea]
Brandeis University La Salle College of Arts [Singapore]
Brigham Young University (3) Maine College of Art
California College of the Arts (2) Maryland Institute College of Art (2)
California Institute of the Arts (3) Massachusetts College of Art (2)
California State University [Fullerton] Milwaukee Institute of Art & Design
California State University [Long Beach] Minneapolis College of Art & Design
California State University [Los Angeles] Montserrat College of Art (2)
Central Academy of Fine Arts [China] Nebraska Wesleyan University
(2) New York University
Concordia University [Canada] Nova Scotia College of Art & Design
Cooper Union (8) Ontario College of Art & Design
Cornell University (2) Otis College of Art & Design
Dankook University [Republic of Korea] Parsons School of Design
DePaul University Pennsylvania Academy of the Fine Arts
Edinburgh Napier University [Scotland] (2)
Ewha Womans University [Republic of Pratt Institute
Korea] Princeton University
Fashion Institute of Technology Reed College
Ferdowsi University of Mashhad [Iran] Rhode Island School of Design (6)
Gerrit Rietveld Academie Ringling College of Art & Design
[The Netherlands] RMIT University [Australia]
Glasgow School of Art (2) Rutgers University
Hamidrasha School of Art [Israel] San Francisco Art Institute
Hampshire College Sarah Lawrence College
Hastings College School of the Art Institute of Chicago (7)
Hunan University [China] School of Visual Arts (3)
Hunter College [CUNY] Seoul National University [Republic of
Institut Teknologi Bandung [Indonesia] Korea]
ISIA Urbino [Italy] Southern Methodist University
Kendall College of Art & Design State University of New York [Bu≠alo]
102   School of Art, 2019–2020

State University of New York [Purchase] University of Houston

Suzhou University [China] University of Louisiana
Syracuse University University of Maryland [Baltimore
Tyler School of Art County]
Universidad Iberoamericana [Mexico] University of Maryland [College Park]
Université du Québec à Montréal University of Science & Culture [Iran]
[Canada] University of Texas [Austin]
University of Arizona University of the Arts Helsinki [Finland]
University of California [Berkeley] (2) Vassar College (2)
University of California [Davis] Washington University
University of California [Irvine] Wesleyan University (2)
University of California [Los Angeles] Yale University
University of California [Santa Cruz] (2) Yeungnam University [Republic of
University of Central Florida Korea]
University of Chicago Zurich University of the Arts
University of Cincinnati [Switzerland]
University of Georgia
Institutions represented, 89

Geographical Distribution
One student from each state or country unless otherwise indicated.

United States 
Arizona (2) Missouri
California (23) New Jersey (4)
Colorado (2) New York (31)
Connecticut Pennsylvania (3)
District of Columbia Rhode Island
Florida (6) Tennessee
Illinois (5) Texas (3)
Louisiana Utah
Maryland Wisconsin (3)
Massachusetts (5)
States represented, 20
Michigan

Foreign Countries 
Australia Italy
Canada (3) Korea, Republic of (8)
China (7) Mexico
Finland The Netherlands
Germany Sweden
Indonesia (2) Switzerland
Iran (2) United Kingdom
Israel
Foreign countries represented, 15
The Work of Yale University
The work of Yale University is carried on in the following schools:

Yale College  Est. 1701. Courses in humanities, social sciences, natural sciences, math-
ematical and computer sciences, and engineering. Bachelor of Arts (B.A.), Bachelor of
Science (B.S.).
For additional information, please visit https://admissions.yale.edu, e-mail student.
questions@yale.edu, or call 203.432.9300. Postal correspondence should be directed to
O∞ce of Undergraduate Admissions, Yale University, PO Box 208234, New Haven CT
06520-8234.

Graduate School of Arts and Sciences  Est. 1847. Courses for college graduates. Master
of Advanced Study (M.A.S.), Master of Arts (M.A.), Master of Science (M.S.), Master
of Philosophy (M.Phil.), Doctor of Philosophy (Ph.D.).
For additional information, please visit https://gsas.yale.edu, e-mail graduate.
admissions@yale.edu, or call the O∞ce of Graduate Admissions at 203.432.2771. Postal
correspondence should be directed to O∞ce of Graduate Admissions, Yale Graduate
School of Arts and Sciences, PO Box 208236, New Haven CT 06520-8236.

School of Medicine  Est. 1810. Courses for college graduates and students who have
completed requisite training in approved institutions. Doctor of Medicine (M.D.). Post-
graduate study in the basic sciences and clinical subjects. Five-year combined program
leading to Doctor of Medicine and Master of Health Science (M.D./M.H.S.). Combined
program with the Graduate School of Arts and Sciences leading to Doctor of Medicine
and Doctor of Philosophy (M.D./Ph.D.). Master of Medical Science (M.M.Sc.) from the
Physician Associate Program and the Physician Assistant Online Program.
For additional information, please visit https://medicine.yale.edu/education/
admissions, e-mail medical.admissions@yale.edu, or call the O∞ce of Admissions at
203.785.2643. Postal correspondence should be directed to O∞ce of Admissions, Yale
School of Medicine, 367 Cedar Street, New Haven CT 06510.

Divinity School  Est. 1822. Courses for college graduates. Master of Divinity (M.Div.),
Master of Arts in Religion (M.A.R.). Individuals with an M.Div. degree may apply for
the program leading to the degree of Master of Sacred Theology (S.T.M.).
For additional information, please visit https://divinity.yale.edu, e-mail div.
admissions@yale.edu, or call the Admissions O∞ce at 203.432.5360. Postal correspon-
dence should be directed to Admissions O∞ce, Yale Divinity School, 409 Prospect Street,
New Haven CT 06511.

Law School  Est. 1824. Courses for college graduates. Juris Doctor (J.D.). For additional
information, please visit https://law.yale.edu, e-mail admissions.law@yale.edu, or call
the Admissions O∞ce at 203.432.4995. Postal correspondence should be directed to
Admissions O∞ce, Yale Law School, PO Box 208215, New Haven CT 06520-8215.
Graduate Programs: Master of Laws (LL.M.), Doctor of the Science of Law (J.S.D.),
Master of Studies in Law (M.S.L.). Doctor of Philosophy (Ph.D.) awarded by the
Graduate School of Arts and Sciences. For additional information, please visit https://
law.yale.edu, e-mail gradpro.law@yale.edu, or call the Graduate Programs O∞ce at
104   School of Art, 2019–2020

203.432.1696. Postal correspondence should be directed to Graduate Programs, Yale Law

School, PO Box 208215, New Haven CT 06520-8215.

School of Engineering & Applied Science  Est. 1852. Courses for college graduates. Mas-
ter of Science (M.S.) and Doctor of Philosophy (Ph.D.) awarded by the Graduate School
of Arts and Sciences.
For additional information, please visit https://seas.yale.edu, e-mail grad.engineering
@yale.edu, or call 203.432.4252. Postal correspondence should be directed to O∞ce of
Graduate Studies, Yale School of Engineering & Applied Science, PO Box 208267, New
Haven CT 06520-8267.

School of Art  Est. 1869. Professional courses for college and art school graduates. Master
of Fine Arts (M.F.A.).
For additional information, please visit http://art.yale.edu, e-mail artschool.info@
yale.edu, or call the O∞ce of Academic Administration at 203.432.2600. Postal corre-
spondence should be directed to O∞ce of Academic Administration, Yale School of Art,
PO Box 208339, New Haven CT 06520-8339.

School of Music  Est. 1894. Graduate professional studies in performance, composition,

and conducting. Certificate in Performance, Master of Music (M.M.), Master of Musical
Arts (M.M.A.), Artist Diploma (A.D.), Doctor of Musical Arts (D.M.A.).
For additional information, please visit https://music.yale.edu, e-mail gradmusic.
admissions@yale.edu, or call the O∞ce of Admissions at 203.432.4155. Postal correspon-
dence should be directed to Yale School of Music, PO Box 208246, New Haven CT
06520-8246.

School of Forestry & Environmental Studies  Est. 1900. Courses for college graduates.
Master of Forestry (M.F.), Master of Forest Science (M.F.S.), Master of Environmental
Science (M.E.Sc.), Master of Environmental Management (M.E.M.). Doctor of Philoso-
phy (Ph.D.) awarded by the Graduate School of Arts and Sciences.
For additional information, please visit https://environment.yale.edu, e-mail
fesinfo@yale.edu, or call the O∞ce of Admissions at 800.825.0330. Postal correspon-
dence should be directed to O∞ce of Admissions, Yale School of Forestry & Environ-
mental Studies, 195 Prospect Street, New Haven CT 06511.

School of Public Health  Est. 1915. Courses for college graduates. Master of Public Health
(M.P.H.). Master of Science (M.S.) and Doctor of Philosophy (Ph.D.) awarded by the
Graduate School of Arts and Sciences.
For additional information, please visit https://publichealth.yale.edu, e-mail ysph.
admissions@yale.edu, or call the Admissions O∞ce at 203.785.2844.

School of Architecture  Est. 1916. Courses for college graduates. Professional and post-
professional degree: Master of Architecture (M.Arch.); nonprofessional degree: Mas-
ter of Environmental Design (M.E.D.). Doctor of Philosophy (Ph.D.) awarded by the
Graduate School of Arts and Sciences.
For additional information, please visit https://architecture.yale.edu, e-mail gradarch.
admissions@yale.edu, or call 203.432.2296. Postal correspondence should be directed to
the Yale School of Architecture, PO Box 208242, New Haven CT 06520-8242.
 The Work of Yale   105  

School of Nursing  Est. 1923. Courses for college graduates. Master of Science in Nurs-
ing (M.S.N.), Post Master’s Certificate, Doctor of Nursing Practice (D.N.P.). Doctor of
Philosophy (Ph.D.) awarded by the Graduate School of Arts and Sciences.
For additional information, please visit https://nursing.yale.edu or call 203.785.2389.
Postal correspondence should be directed to Yale School of Nursing, Yale University West
Campus, PO Box 27399, West Haven CT 06516-0974.

School of Drama  Est. 1925. Courses for college graduates and certificate students. Master
of Fine Arts (M.F.A.), Certificate in Drama, Doctor of Fine Arts (D.F.A.).
For additional information, please visit https://drama.yale.edu, e-mail ysd.admissions
@yale.edu, or call the Registrar/Admissions O∞ce at 203.432.1507. Postal correspon-
dence should be directed to Yale School of Drama, PO Box 208325, New Haven CT
06520-8325.

School of Management  Est. 1976. Courses for college graduates. Master of Business
Administration (M.B.A.), Master of Advanced Management (M.A.M.), Master of Man-
agement Studies (M.M.S.). Doctor of Philosophy (Ph.D.) awarded by the Graduate
School of Arts and Sciences.
For additional information, please visit https://som.yale.edu. Postal correspondence
should be directed to Yale School of Management, PO Box 208200, New Haven CT
06520-8200.
yale u n ive rsity c ampus north

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© Yale University. Map not to scale

Travel Directions
to Yale School of Art Administrative O∞ces
Holcombe T. Green, Jr. Hall, 1156 Chapel Street

By Air
Tweed–New Haven Airport is the closest airport and is approximately four miles from
the Yale campus. It is serviced by USAirways (800.428.4322). Local taxi service, Metro
Cab (203.777.7777), is available at the airport. Connecticut Limousine Service (800.472.
5466) and Go Airport Shuttle (www.2theairport.com) provide service between New
Haven and Kennedy International Airport (New York), La Guardia Airport (New York),
Newark International Airport (Newark, New Jersey), and Bradley International Airport
(Windsor Locks, Connecticut, near Hartford).

By Train
There is hourly Metro-North (800.638.7646) service to New Haven from Grand Central
Station in New York every day of the week. Amtrak (800.872.7245) service is sched-
uled daily from Boston, Washington, D.C., or New York (Penn Station). From the New
Haven train station take a taxi to 1156 Chapel Street.

By Car
Interstate 95 (from New York or Boston)  Take Downtown New Haven Exit 47 (Route
34). At the second tra∞c light turn right onto York Street. Proceed three blocks to Chapel
Street. Turn left onto Chapel Street. The School of Art building is on the left on Chapel,
midway between York and Park streets. Metered parking is available on local streets. City
parking garages are also available on York Street.

Interstate 91 (from points north or west)  Take Downtown New Haven Exit 1 (Route
34). Continue as above.
BULLETIN OF YALE UNIVERSITY  Series 115  Number 1  May 25, 2019 (USPS 078-500) The University is committed to basing judgments concerning the admission, education,
is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively
and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back-
Avenue, New Haven CT 06510. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law,
Yale does not discriminate in admissions, educational programs, or employment against
Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability,
PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on
the basis of sexual orientation or gender identity or expression.
Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of
Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans.
PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the
O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 4th Floor, 203.432.0849.
The closing date for material in this bulletin was May 10, 2019. For additional information, see https://equalopportunity.yale.edu.
The University reserves the right to withdraw or modify the courses of instruction
or to change the instructors at any time. Title IX of the Education Amendments of 1972 protects people from sex discrimination in
educational programs and activities at institutions that receive federal financial assistance.
©2019 by Yale University. All rights reserved. The material in this bulletin may not Questions regarding Title IX may be referred to the University’s Title IX Coordinator,
be reproduced, in whole or in part, in any form, whether in print or electronic media, Stephanie Spangler, at 203.432.4446 or at titleix@yale.edu, or to the U.S. Department
without written permission from Yale University. of Education, O∞ce for Civil Rights, 8th Floor, 5 Post O∞ce Square, Boston MA 02109-
3921; tel. 617.289.0111, fax 617.289.0150, TDD 800.877.8339, or ocr.boston@ed.gov.
Content
Questions regarding the editorial content of this publication may be referred to Taryn In accordance with federal and state law, the University maintains information on secu-
Wolf, Director of Academic Administration, Yale School of Art. rity policies and procedures and prepares an annual campus security and fire safety report
containing three years’ worth of campus crime statistics and security policy statements,
Inquiries fire safety information, and a description of where students, faculty, and sta≠ should go
All inquiries regarding admission to graduate programs in art should be addressed to to report crimes. The fire safety section of the annual report contains information on
the O∞ce of Academic Administration, Yale School of Art, 1156 Chapel Street, PO Box current fire safety practices and any fires that occurred within on-campus student hous-
208339, New Haven CT 06520-8339; telephone, 203.432.2600; e-mail, artschool.info@ ing facilities. Upon request to the O∞ce of the Vice President for Human Resources and
yale.edu. Administration, PO Box 208322, 2 Whitney Avenue, Suite 810, New Haven CT 06520-
8322, 203.432.8049, the University will provide this information to any applicant for
Website admission, or prospective students and employees may visit http://publicsafety.yale.edu.
http://art.yale.edu
In accordance with federal law, the University prepares an annual report on participation
The School of Art Bulletin is primarily a digital publication, available in HTML and rates, financial support, and other information regarding men’s and women’s intercol-
pdf at https://bulletin.yale.edu. A limited number of copies were printed on 50% post- legiate athletic programs. Upon request to the Director of Athletics, PO Box 208216, New
consumer recycled paper for the School of Art and the permanent archive of the Bulletin Haven CT 06520-8216, 203.432.1414, the University will provide its annual report to any
of Yale University. Individual copies may also be purchased on a print-on-demand basis; student or prospective student. The Equity in Athletics Disclosure Act (EADA) report is
please contact Yale Printing and Publishing Services, 203.432.6560. also available online at http://ope.ed.gov/athletics.

For all other matters related to admission to the School of Art, please telephone the O∞ce of
Academic Administration, 203.432.2600.
BULLETIN OF YALE UNIVERSITY Periodicals postage paid
School of Art

BULLETIN OF YALE UNIVERSITY

New Haven ct 06520-8227 New Haven, Connecticut

2019–2020

School of Art  2019–2020

BULLETIN OF YALE UNIVERSITY

Series 115  Number 1  May 25, 2019