Develop a passion for visual communication and learn new skills! In Two-Dimensional Design students of all abilities will master the fundamentals of visual composition, and the various ways artists and designers use visual language. Through the study of the elements and principals of design students will develop technical proficiency in a range of art media and find creative confidence in the expression of visual communication. This course approach fosters creativity through one-one-one instruction during time, written feedback, and group critiques.

Develop a passion for visual communication and learn new skills! In Three-Dimensional Design students of all abilities will master the fundamentals of visual composition, and the various ways artists and designers use visual language. Through the study of the elements and principals of design students will develop technical proficiency in a range of art media and find creative confidence in the expression of visual communication. This course approach fosters creativity through one-one-one instruction during time, written feedback, and group critiques.

This advanced video class serves goes into greater depth on the topics covered in 4.351 Introduction to Video. It also will explore the nature and function of narrative in cinema and video through exercises and screenings culminating in a final project. Starting with a brief introduction to the basic principles of classical narrative cinema, we will proceed to explore strategies designed to test the elements of narrative: story trajectory, character development, verisimilitude, time-space continuity, viewer identification, suspension of disbelief, and closure.

This course considers films spanning the entire career of pioneering Spanish filmmaker Luis Buñuel (1900–1983), from his silent surrealist classic of 1929, Un perro andaluz, to his last film, Ese oscuro objeto del deseo (1977). We pay special attention to his Mexican period, in exile, and the films he made in, and about, Spain, including his work in documentary. It explores Buñuel's early friendship with painter Salvador Dalí and poet Federico García Lorca, surrealist aesthetics, the influence of Freud's ideas on dreams and sexuality, and the director's corrosive criticism of bourgeois society and the Catholic church. We will focus on historical contexts and relevant film criticism.
About This Course on OpenCourseWare
The instructor of this course, Elizabeth Garrels, is a Professor Emeritus at MIT. She retired in 2014 after 35 years at the Institute. Professor Garrels taught this course for over 15 years, and it evolved over this time period. Normally, a course on OCW represents the version of a course taught during a specific semester and year. However, for this course we hope to represent the evolution of the course during the main years it was taught. The materials you see here are not from a particular iteration of the course, but are drawn from all of the years the course was taught.

Akio Matsumoto, half-length portrait, seated at desk, facing front, painting sign. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Akio Matsumoto, half-length portrait, seated at desk, facing front, painting sign. Title transcribed from Ansel Adams' caption on negative sleeve. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

Akio Matsumoto, half-length portrait, seated at desk, facing front, painting sign. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-4-M-40-Ax. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.

In this art history video discussion Beth Harris and Steven Zucker look at Albrecht Durer's "Self-Portrait, 1500." (Alte Pinakothek, Munich).

In this art history video discussion Beth Harris and Steven Zucker examine Albrecht Altdorfer's "The Battle of Issus," 1529, oil on panel. Alte Pinokothek, Munich.

This course is particularly focused on helping you develop visual literacy skills, but all the college courses you take are to some degree about information literacy. Visual literacy is really just a specialized type of information literacy. The skills you acquire in this course will help you become an effective researcher in other fields, as well.

This entry-level course is designed to help you gain a general appreciation for art as well as to help you develop a working vocabulary for the knowledgeable analysis of art based on the Visual Elements and the Principles of Design. The syllabus is included in the course and contains the course objectives, student learning outcomes, list of assignments and names of the course textbooks.

Art Interaction Mapping (AIM) is a creative brainstorming tool for advanced visual art projects. This framework was designed to help artists creatively integrate digital technologies with traditional mediums. These visualization models can be used to organize and structure ideas, refine concepts, or assess project outcomes.

Grade level: graduate students, advanced undergrads, persons with analyzed research results

Course length: 1 semester, 4-6 months

Objective: This course empowers scientists to engage with their own data, each other, and the public through art. Through collective brainstorming, prototyping, and feedback from professional artists, students will create a project that expresses their own research through any artistic medium of their choice. The course typically culminates in a public art exhibition where students interact with a general audience to discuss their research, art, and what it means to be a scientist.

This seminar introduces, through studio projects, the basic principles regarding the use of color in the visual arts. Students explore a range of topics, including the historical uses of color in the arts, the interactions between colors, and the psychology of color.

The visual narratives and abstractions of this preeminent African American artist explore the places where he lived and worked: the rural South, Pittsburgh, Harlem, and the Caribbean. Bearden's central themes: religion, jazz and blues, history, literature, and the realities of black life he endured throughout his remarkable career in watercolors, oils, and especially collages and photomontages from the 1940s through the 1980s.

We will explore images that pertain to the emergence of Japan as a modern state. We will focus on images that depict Japan as it comes into contact with the rest of the world after its long and deep isolation during the feudal period. We will also cover city planning of Tokyo that took place after WWII, and such topics as the 1964 Tokyo Olympics.
A unique feature of this offering is that we will run it concurrently with the edX MOOC and two University of Tokyo MOOCs, Visualizing Postwar Tokyo and Four Faces of Contemporary Japanese Architecture, for much of the remainder of the class.

This resource is a modification of the Washington Models for the Evaluation of Bias Content in Instructional Materials (2009) that is made available through OER Commons under a public domain license. This resource attempts to both update the content with more contemporary vocabulary and also to narrow the scope to evaluating still images as they are found online. It was developed as a secondary project while working on a BranchED OER grant during summer 2020. It includes an attached rubric adapted from the Washington Model (2009).

This course focuses on novels and films from the last twenty-five years (nominally 1985–2010) marked by their relationship to extreme violence and transgression. Our texts will focus on serial killers, torture, rape, and brutality, but they also explore notions of American history, gender and sexuality, and reality television—sometimes, they delve into love or time or the redemptive role of art in late modernity. Our works are a motley assortment, with origins in the U.S., France, Spain, Belgium, Austria, Japan and South Korea. The broad global era marked by this period is one of acceleration, fragmentation, and late capitalism; however, we will also consider national specificities of violent representation, including particulars like the history of racism in the United States, the role of politeness in bourgeois Austrian culture, and the effect of Japanese manga on vividly graphic contemporary Asian cinema.
We will explore the politics and aesthetics of the extreme; affective questions about sensation, fear, disgust, and shock; and problems of torture, pain, and the unrepresentable. We will ask whether these texts help us understand violence, or whether they frame violence as something that resists comprehension; we will consider whether form mitigates or colludes with violence. Finally, we will continually press on the central term in the title of this course: what, specifically, is violence? (Can we only speak of plural "violences"?) Is violence the same as force? Do we know violence when we see it? Is it something knowable or does it resist or even destroy knowledge? Is violence a matter for a text's content—who does what, how, and to whom—or is it a problem of form: shock, boredom, repetition, indeterminacy, blankness? Can we speak of an aesthetic of violence? A politics or ethics of violence? Note the question that titles our last week: Is it the case that we are what we see? If so, what does our obsession with ultraviolence mean, and how does contemporary representation turn an accusing gaze back at us?

This class offers a foundation in the visual art practice and its critical analysis for beginning architecture students. Emphasis is on long-range artistic development and its analogies to architectural thinking and practice. Students will learn to communicate ideas and experiences through various two-dimensional, and three-dimensional, and time-based media, including installations, performance and video. Lectures, visiting artist presentations, field trips, and readings supplement studio practice.

Spectators of all ages, seated and standing, watch a band perform in the afternoon on an outdoor stage. Title transcribed from Ansel Adams' caption on verso of print. Original neg. no.: LC-A35-5-M-8. Gift; Ansel Adams; 1965-1968. Forms part of: Manzanar War Relocation Center photographs.