Courses

Culinary practices are intricate to how urban spaces are experienced in everyday life. This course explores the nuanced ways food practices transform global cities worldwide. It investigates how personal preferences of food shape social, cultural, and spatial boundaries. Throughout the course, students will analyze urban spaces in global cities from an intersectionality theory of capitalism lens to consider how power structures shape culinary practices in terms of race, gender, sexuality, citizenship, class, ethnicity, language, religion, caste, ability, and diet. For instance, immigrant cooking and eating practices help define ethnic enclaves. And gourmet food trucks for the middle-class can become tropes for spurring gentrification. Analyzing global North and South cities, course themes focus on the politics of street food, food trucks, restaurants, markets, farmers’ markets, food deserts, food assistance programs, urban farming and agriculture, gastronomic gentrification, and food delivery services. This course comprises a mixture of active teaching strategies, short lectures, a film, and several field trips throughout New York City. By the end of the course, students will garner a deep understanding of how food and societies influence, and are shaped by, contemporary global cities.

Culinary practices are intricate to how urban spaces are experienced in everyday life. This course explores the nuanced ways food practices transform global cities worldwide. It investigates how personal preferences of food shape social, cultural, and spatial boundaries. Throughout the course, students will analyze urban spaces in global cities from an intersectionality theory of capitalism lens to consider how power structures shape culinary practices in terms of race, gender, sexuality, citizenship, class, ethnicity, language, religion, caste, ability, and diet. For instance, immigrant cooking and eating practices help define ethnic enclaves. And gourmet food trucks for the middle-class can become tropes for spurring gentrification. Analyzing global North and South cities, course themes focus on the politics of street food, food trucks, restaurants, markets, farmers’ markets, food deserts, food assistance programs, urban farming and agriculture, gastronomic gentrification, and food delivery services. This course comprises a mixture of active teaching strategies, short lectures, a film, and several field trips throughout New York City. By the end of the course, students will garner a deep understanding of how food and societies influence, and are shaped by, contemporary global cities.

Fundamentals of visual vocabulary. Students work from observation using still-life objects and the human figure. Emphasizes the relationship of lines and forms to each other and to the picture format. Materials used: vine charcoal, compressed charcoal, pencil, pen, ink, and brushes. Class assignments, discussions, and critiques.

Introductory course to analog photographic tools, techniques, and photo criticism. This class explores black & white, analog camera photography and darkroom processing and printing.  Areascovered include camera operations, black and white darkroom work, 8x10 print production, and critique. With an emphasis on the student’s own creative practice, this course will explore the basics of photography and its history through regular shooting assignments, demonstrations, critique, lectures, and readings. No prior photography experience is required.

Introductory course to analog photographic tools, techniques, and photo criticism. This class explores black & white, analog camera photography and darkroom processing and printing.  Areascovered include camera operations, black and white darkroom work, 8x10 print production, and critique. With an emphasis on the student’s own creative practice, this course will explore the basics of photography and its history through regular shooting assignments, demonstrations, critique, lectures, and readings. No prior photography experience is required.

Since Walter Benjamin’s concept of “work of art in the age of mechanical reproduction” (1935), photography has been continuously changed by mechanical, and then digital, means of image capture and processing. This class explores the history of the image, as a global phenomenon that accompanied industrialization, conflict, racial reckonings, and decolonization. Students will study case studies, read critical essays, and get hands-on training in capture, workflow, editing, output, and display formats using digital equipment (e.g., DSLR camera) and software (e.g., Lightroom, Photoshop, Scanning Software). Students will complete weekly assignments, a midterm project, and a final project based on research and shooting assignments. No Prerequisites and no equipment needed. All enrolled students will be able to check out Canon EOS 5D DSLR Camera; receive an Adobe Creative Cloud license; and get access to Large Format Print service.

A photography exhibition is a form of “show and tell” that combines a photographer’s creativity with the audience’s interaction (applause, excitement, boredom, learning). This course explores historic and modern photography exhibitions designed by curators, organizations, and artists. We explore the ways a photograph breathes in the “living” world as compared to the “static” world of newspapers, magazines, or photobooks. Making use of New York’s vast cultural network, we will go on field trips to public museums, commercial galleries, and independent spaces in Chelsea, Downtown, Long Island City, Bronx, etc. Students will design a mini-exhibition as their final project. Students will maintain a daily Reflection Journal to document their experiences at each location, capturing the ideas discussed and materials presented. The journal serves as a creative space for exploring the topics covered in the course and for developing concepts for the final project. The Final Project will be a collectively curated one-day exhibition on campus.

This course explores the photobook as a central medium of lens-based contemporary art practice and bookmaking. You will be exposed to a variety of geographies (Japan, USA, Europe, Latin America, Africa), approaches (formal book, luxury volume, grassroots zine, national archive, art object), subject matters (autobiography, fiction, historical, journalism, epic events), and materials. Using Columbia’s world-famous library holdings, many photo and art books and a diverse range of viewpoints will be studied through historical lectures and New York City field trips. Students will learn hands-on processes of photobook and fanzine making.

This is an intensive, six-week class moving from the basics of paint materials, techniques, issues of color, light, narrative and most of all representation. Students will begin working from still life set-ups in the studio and gradually move towards more ambitious approaches including figure painting from a model. Towards the end of the class students will be encouraged to work on a project or projects that more closely reflect their personal ideas.

Introduction to the fundamentals of silkscreen techniques. Students gain familiarity with the technical processes of silkscreen and are encouraged to use the processes to develop their visual language. Students are involved in a great deal of drawing for assigned projects. Portfolio required at end.

Introduction to the fundamentals of silkscreen techniques. Students gain familiarity with the technical processes of silkscreen and are encouraged to use the processes to develop their visual language. Students are involved in a great deal of drawing for assigned projects. Portfolio required at end.

Prerequisites: Must have a BA, BFA or equivalent. Apply directly to the School of the Arts. Access the application here: http://arts.columbia.edu/summer/visual-arts/course/advanced-painting-intensive-nyc. The Advanced Painting Intensive mentors a group of up to twelve students through individual and group critique, technical tutorials, exposure to the New York gallery and museum worlds, and lectures and critiques by nationally known visiting artists. The six-week, six-credit workshop is based on the elements and structure of Columbia's MFA degree program and is tailored to those who are interested in challenging and advancing their work in an immersive and nurturing environment. Additionally, the workshop is geared to those who desire to develop both a strong visual portfolio and a written package appropriate for applications to MFA programs. The Advanced Painting Intensive is led by Professor Gregory Amenoff, the Chair of Visual Arts at Columbia University. Professor Amenoff has exhibited his paintings nationally and internationally for four decades and was one of the founders of Columbia University's prestigious MFA visual arts program.