Pratt Integrative Courses – Spring 2023
300S: AT THE VANGARDE!
- PIC 300: Focus: Expand
- Section 1: MON 2-4:50. Alexandra Goldberg.
- Section 2: FRI. 10-12:50. Laurel Voss.
- Section 3: WED 2-4:50. Chelsea Limbird.
- Section 4: THURS 2-4:50. Chelsea Limbird.
- Section 5: TUES 2-4:50. Kirk Pillow.
- PIC 303: Bold/Rogue. Amir Parsa. WEDS 6-8:50.
320S: MAKING CULTURE/CULTURE MAKING
- PIC 320: Big Impact
- Section 1: WED 10-12:50. Loney (Lauren) Abrams & Johnny (Jonathan) Stanish.
- Section 2: THURS 10-12:50. Dina Weiss.
- PIC 330: The Art of Scent. Alexis Karl.
- Section 1: FRI 10-12:50.
- Section 2: FRI 2-4:50.
- Section 3: THURS 2-4:50.
- PIC 336: The Alchemical Imagination. Eliza Swann.
- Section 1: WED 2-4:50.
- Section 2: MON 5-7:50.
- PIC 337: Scientific Provocations. Mark Rosin. WED 2-4:50.
340S: AROUND CREATIVITY
- PIC 341: Visionary Creativity. John Lobell. TUE 5-7:50.
- PIC 342: Corpse Will Drink. Michael Gac Levin.
- Section 1: WED 10-12:50.
- Section 2: MON 2-4:50.
- PIC 343: Conceptual Practices: Rapid Prototypes. Birgit Rathsmann.
- Section 1: TUES 9-11:50.
- Section 2: WEDS 9-11:50.
- PIC 346: Unboxed: Subversion Strategies. Maria Baker. THURS 2-4:50.
- PIC 349: Buddhism and Creative Practices. Kristine Marx.
- Section 1: FRI, 2-4:50
- Section 2: FRI, 10-12:50
360S: FROM THREADS TO BOTS
- PIC 361: Interwoven. Freya Tamayo. TUE 2-4:50.
- PIC 363: Productive Collisions. Latoya Kamdang. TUE 9-11:50.
390S: NEW WORLDS, NEW FUTURES
- PIC 391: Another Earth. Virginia Wagner.
- Section 1: TUE 5-7:50.
- Section 2: MON 5-7:50.
- PIC 395: After the Internet. Loney (Lauren) Abrams and Johnny (Jonathan) Stanish.
- Section 1: FRI 2-4:50.
- Section 2: FRI 10-12:50.
Section 1 – Alex Goldberg
Section 2 – Laurel Voss
Section 3 & 4 – Chelsea Limbird
Section 5: Kirk Pillow
This course focuses on the development of integrative capacities through students’ own prior work, personal experiences, and future interests. Through exercises, activities, the examination of case studies, and projects that engage students in collaborative work and individualized and directed learning, students revisit their own aesthetics and connect their life experiences to academic work. They also examine connections across disciplines while engaging in extended reflection on their own learning.
This course invites students to shake up their work, create new genres and forms, fuse disciplines, take aesthetic and stylistic risks, and balance individual work with collaborations and interventions. Through the study and making of avant-garde pieces, the questioning of canons, the cultivation of idleness (that’s right, doing nothing), and other radical actions, the class guides students to envision innovative paths for their future studies and projects. Go rogue. Be bold. And create groundbreaking work!
Section 1 – Loney Abrams and Johnny Stanish
Section 2 – Dina Weiss
This course will provide an opportunity to examine the impact artists and designers have in shaping the world. It will be an exploration of the interdisciplinary exchange between art and design that is focused on globalization. The course will provide historical context for culture and delve into the socio-political landscape of today by examining the ways artists and designers contribute to the greater good.
THE ART OF SCENT
Art and scent are linked together in time and space, speaking of memory, emotion, and the spirit of artistic invention. This class explores fragrance as an artistic medium, using notes like dragon’s blood, ambergris, rare flowers, and 35-million-year-old amber. Joined with fine and performing arts, scent will be an immersive means of communication, challenging artistic-olfactory perceptions, translating memory into art and experience, and storytelling through multidisciplinary installation.
THE ALCHEMICAL IMAGINATION
Alchemists refer to their combined practices as “The Great Art.” In this course, we will use metaphors derived from ancient alchemy to elucidate deep structures in the creative imagination, using alchemical symbolism as a springboard to expand our own capacities as thinkers and makers. Together, we will perform in-class experiments and trace the philosophies of alchemy through its applications in early mathematics, proto-chemistry, healing arts, psychology, visual art and literature to develop the tools to arrive at our own “Great Art.”
This hands-on practice-based course will focus on creating and thinking critically about works at the intersection of science, art and design. Through the lenses of Functionality, Creativity, Learning, and Activism, we will see how science and art manifest in contemporary settings and fields as varied as environmental activism, sustainability, science fiction, museums, digital arts, science communication, socially engaged art, and design thinking.
Creativity is defining to Pratt’s mission, but what exactly do we mean by creativity? After distinguishing between mastery, innovation, and ordinary creativity, this course looks at Visionary Creativity. Visionary Creativity comes about in the context of its culture and at the same time changes its culture. This course helps each student think about their own creativity in the context of their field and in relationship to the larger culture.
CORPSE WILL DRINK
Michael Gac Levin
Can the Freudian slip be a design principle? Can an architectural diagram double as a Rorschach test? Can a scribble tell a secret? In Corpse Will Drink, we will explore instinct, intuition, fear and desire as we search for ways to conjure the creative possibility of the unconscious mind.
CONCEPTUAL PRACTICES: RAPID PROTOTYPES
Improve your approach to creating image-text art!
Learn how to use improvisation and recuperative strategies!
Make better multi-genre art—and have more fun in the process!
UNBOXED: SUBVERSION STRATEGIES
“Think outside the box!” We’ve all heard that before. Defying the box seems to be at the core of creativity and innovation. But what exactly is this box?! In this course, we’ll consider the box as the limits imposed by our ways of cataloging thoughts and perceptions—the binaries, hierarchies, and narratives we create to structure our world. We’ll consult examples from art and design, pop culture and philosophy (from TV’s “Shark Tank” to Derrida), and complete creative assignments based on strategies innovators employ to escape their boxes.
BUDDHISM AND CREATIVE PRACTICES: MEDITATION, DIRECT EXPERIENCE, AND ART
In this course, students explore ‘seeing for yourself’ or direct experience, in relation to Buddhism and creativity. Each class begins with a medication. We then investigate a Buddhist theme – such as mindfulness or impermanence – in relation to an artist, designer, writer, or composer. The course highlights artists from the mid-20th century when Buddhism was first embraced by New York’s avant-garde and more recent figures, like Agnes Martin and Steve Jobs. Projects incorporated different visual media and/or writing.
Productive Collisions embarks on a multidisciplinary approach to creating human centered spaces for transformation and social mobility for youth in marginalized communities. The systemic nature of the challenges presented requires the negotiation of multiple culturally complex factors and students will be asked to consider the role of creative disciplines to facilitate change. As economic forces continue to grow, we will interrogate how we, stewards of creative problem solving, can we find solutions to ameliorate the negative effects of gentrification. How might we consider moments of “productive collision” as conducive to imagining community cohesion and equitable outcomes?
Another Earth will explore the design of imaginary worlds. We will study examples of worlds built in literature, graphic novels, and visual art and our studio work will combine these mediums. Each student will create written and visual art to flesh out a setting of their own design. Our goal will be to develop an imaginary place that feels substantive and reflects our real world in ways that help us both understand and escape from it.
AFTER THE INTERNET
Loney Abrams and Johnny Stanish
You probably get a lot of feedback inside the studio. But how do you get your work out of the studio and into the world? In this course students will make artworks and creative projects that leverage the power of social media and online networks (informed by media theory and post-internet discourse) to reach new audiences and make connections outside of Pratt. This will culminate in an online and IRL exhibition open to the public.