Graduate Workshop PNTG:6475:0001 Fall25

The University of Iowa The College of Liberal Arts and Sciences

Fall 2025

Visual Arts Building E142 5:30 -8:30pm

School of Art, Art History, and Design

https://art.uiowa.edu/

Instructor

Assistant Professor Suzanne Wright

Phone 319-335-1371

Email : suzanne-wright@uiowa.edu

Office location

Visual Arts Building E142 VAB

 Student drop-in hours

Monday and Wednesday’s 12:30 -2 (Both days)

Students are invited to drop by during these hours to discuss questions about the course material or concerns. I am also available by appointment if you are unable to attend my drop-in hours and may be available for zoom meetings.

Course Supervisor N/A

Division or Area Head

Suzanne Wright Email : suzanne-wright@uiowa.edu

Departmental Executive Officer (DEO): Professor Andrew Casto

Email: andrew-casto@uiowa.edu

Phone: 319-335-1376 Office location: 150 Art Building West

Student Complaints

Students with a complaint about a grade or a related matter should first discuss the situation with the instructor, then with the course supervisor (if there is one), then with the Area or Division Head, and finally with the Departmental Executive Officer (DEO) of SAAHD. Sometimes students will be referred to the Studio or Art History Director of Undergraduate Studies (DUS) or Director of Graduate Studies (DGS).

Undergraduate students should contact CLAS Undergraduate Programs for support when the matter is not resolved at the previous level. Graduate students should contact the CLAS Graduate Affairs Manager when additional support is needed.

Course’s College (Administrative Home)

For undergraduate courses

The College of Liberal Arts and Sciences (CLAS) is the home of this course, and CLAS governs the add and drop deadlines, academic misconduct policies, and other undergraduate policies and procedures. Other UI colleges may have different policies.

For graduate courses

The College of Liberal Arts and Sciences (CLAS) is the home of this course, and CLAS governs the policies and procedures for its courses. Graduate students, however, must adhere to the academic deadlines set by the Graduate College.

Drop Deadline for this Course

You may drop an individual course before the drop deadline; after this deadline you will need collegiate approval. You can look up the drop deadline for this course here. When you drop a course, a “W” will appear on your transcript. The mark of “W” is a neutral mark that does not affect your GPA. To discuss how dropping (or staying in) a course might affect your academic goals, please contact your Academic Advisor. Directions for adding or dropping a course and other registration changes can be found on the Registrar’s website. Undergraduate students can find policies on dropping CLAS courses here. Graduate students should adhere to the academic deadlines and policies set by the Graduate College.

UI Email

Students are responsible for all official correspondences sent to their UI email address (uiowa.edu) and must use this address for any communication with instructors or staff in the UI community. For the privacy and the protection of student records, UI faculty and staff can only correspond with UI email addresses.

Description of Course:Workshop : Professional Practice, Critique and Artistic Transformation:

This unique studio allows students to pursue and develop independent projects in painting.We will collectively and individually explore specific problems in each student's area of concentration and interest. We will work rigorously to uncover more and more ways to create concepts and formal production, with an emphasis on “Research as Practice” and an expansive look into material and methodology. The course aims to develop and shape a self-sustaining critical discourse around each student’s painting practice, as they work independently as artists past graduation.

A variety of critical frameworks are designed to introduce students to the social and historical precedents for their work, urging them to situate their practice in context. The ultimate goal is to create and complete a body of work – working in a series or sequentially – that speaks to the objectives and content of the individual’s personal visual language and ideas. Choice of subject matter and medium are decided by the student. During the first 2 weeks, students formulate the direction of their work and present to the class their research. Regular group critiques take place and serve to enhance the scope of dialogue forming around each student’s work. For some in this course, we will work together to examine and expand on our aspirations as professional artists, while preparing for the practicalities that artist face upon leaving art school.

Course Objectives: Goals or Enduring Value:

+To construct and deconstruct paintings for an ongoing studio practice

+To review and assess painting from a historical and contemporary context

+To utilize painting as a clarification of visual thinking and planning

+To make paintings with agency and primacy of their own

Course Learning Outcomes:

+A body of paintings including technical variety, series work, translations, and new scale applications

+Articulation about painting concerns and ideas in critique settings and presentations

+Studies investigating content and ideas

+Students will be able to apply identifying and comparative language to individual artwork positioned within the general context of contemporary artistic practices.

Students will be able to produce and create artwork that evidences a mutual reinforced integration of form and content.

Each student will demonstrate through their studio work, an independent, informed and articulate voice as an artist.

Students will be able to develop writing competencies in the discipline of contemporary art

This course also has specific Studio Art Outcomes, which apply to students from any major. In this course students will,

• Investigate the unique power of works of fine art to represent and inspire human thoughts and actions by exploring and discussing principles of contemporary art.

• Organizing ideas into well-unified compositions

• Demonstrating skills in the execution of a successful projects/drawings, paintings

• Demonstrating a more sensitive and enlarged personal vision

• Explore the particular expressive potential of an artistic medium or media

Textbooks/Materials

There are no required textbooks, however there is an ongoing

Reading list: ONGOING

Invisible Dragon by Dave Hickey
one lump or two - Helen Molesworth
Selection from Russell Ferguson, The Undiscovered Country
Gerrit Vermeiren, "Noise," Luc Tuymans: I don't get it
Simon Schama, "Interview with Jenny Saville," Jenny Saville
Marcia B. Hall, "Lisa Yuskavage's Painterly Paradoxes," Lisa Yuskavage
"Cecily Brown in Conversation with Lari Pittman," Cecily Brown
Bruce Hainley, "An Interview with Richard Hawkins, simultaneously"
Noble, Guy. Drawing Masterclass: 100 Creative Techniques of Great Artists. Prestel. 2017.
Simblet, Sarah. Anatomy for the Artist. DK Pub. 2001.
Franck, Frederick. The Zen of Seeing: Seeing/Drawing as Meditation. Vintage Books. 1973.
Edwards, Betty. Drawing on the Right Side of the Brain. Penguin. 2012.
Oehler, Sarah Kelly. Charles White: A Retrospective. Art Institute of Chicago. 2018.
Gilbert, Elizabeth T. Drawing Tools & Materials. Quarto.2019.
Lassnig, Maria. Works, Diaries & Writings. Koenig Books. 2015.
Rodari, Florian. Shadows of the Hand: The Drawings of Victor Hugo. Drawing Center. 1998.
Berger, John. Ways of Seeing. Penguin Books. 1972.
Kentridge, William. Six Drawing Lessons. Harvard. 2014

The required textbook(s) for this course are:NONE

Course ICON site

To access the course site, log into Iowa Courses Online (ICON) using your Hawk ID and password.

Grading System

undergraduate grading guidelines and procedures, see this page. For graduate grading guidelines see this page.

Final grades will be awarded based on the following ranges:

use and misuse of AI tools, https://teach.its.uiowa.edu/artificial-intelligence-tools-and-teaching

Grading System and the Use of +/-

A B C D F

A+ B+ C+ D+ F

A B C D

A- B- C- D-

Course Grading Criteria

....................................................................................................................................................................

Your grade for the course is based on a holistic assessment of your engagement with the

class. Grades for this course will be based on your effort and conversations in class and in the studio, reading reflections and discussions, and citizenship. You will be graded both on

individual performance and in relation to your peers. You will receive a midterm and final

grade. Grading will favor students who pace themselves, and don’t wait until the last minute. In short, if you participate fully, are engaged in class and attend all sessions, you will receive an excellent grade. Below is a sample of how grading is calculated, but these categories are not fixed.

30%: Attendance and citizenship. Citizenship includes participation, effort, community

engagement. For a full grade, participation is essential. Participation, as part of your overall

citizenship, is a graded component of this course.

30%: Writing assignments/reading and/or presentations

40%: Studio Work/visits and Group Conversations

Studio ART Grading Guidelines

A grade of A+ is a high honor grade and is reserved for truly excellent projects that leave little or no room for improvement. The work is conceptually complex, technically excellent and shows that the student is capable of original, independent, creative and critical thought. The formal decisions work to clearly and effectively enhance the conceptual components of the project. These projects serve as models for other students both creatively and technically.

A grade of A- a high honor grade given for excellent work that is substantial and has only a slight room for improvement in form, content or technique. The work is conceptually complex, technically excellent and shows that the student is capable of original, independent, creative and critical thought.

A grade of B+ is an honor grade given to work that is just shy of excellent. The work is complete and clearly focused, all technical areas have been grasped but the project requires some refinement in form, content or technique. If the project consists of more than one work all of the pieces need to be of a consistent technical and formal level.

A grade of B is an honor grade given when students’ work demonstrates a solid understanding of the assignment and is of considerable achievement. The work is technically and conceptually good, however, some area of the project has not been developed or exploited. The work shows great potential but could have been developed further either technically, conceptually or formally.

A grade of B- is given when students’ work demonstrates a solid understanding of the assignment and is essentially well done but areas of form, content and/or technique need to be more fully realized or examined.

A grade of C+ is an average grade given when students’ work demonstrates a satisfactory knowledge of what is required by the assignment in terms of technical, formal and conceptual concerns. While the work satisfies the basic level of the assignment the formal and/or conceptual elements of the project are not very complex.

A grade of C is an average grade given when student’s work demonstrates a satisfactory knowledge of what is required by the assignment in terms of technical, formal and conceptual concerns. While the work satisfies the basic level of the assignment the formal and/or conceptual elements of the project are not complex enough.

A grade of C- is given when the work is just acceptable. Significant development needs to occur in more than one of the areas of formal, technical or conceptual levels.

A grade of D+ is given when the work presented is below average and unsatisfactory in terms of solving the requirements of the assignment. The formal, conceptual and technical levels of the assignment are below expectations

A grade of D is given when the work presented shows little understanding or connection to the assignment or has serious technical flaws so that it calls into question the student’s comprehension of the process being used. The student has only minimally met only the most basic requirements of the assignment.

A grade of F is given when the work presented does not meet the basic requirements of the assignment.

Attendance and Accommodations

You can find CLAS guidance on absences

here.

Attendance:

Because this is a studio class: Attendance will be crucial. Many of the techniques, theories, and class critiques are cumulative and require your presence and participation. You are permitted two unexcused absence without damage to your grade. More than two missed classes will lower your grade by a letter (so, from an A to an B), and missing four or more classes will put you at risk of failing the class.

Class attendance will be taken at the beginning of class. Lateness of more than 15 minutes or

early departure is considered an absence (and habitual lateness of under 20 minutes will also

affect your participation grade as every three times you are late counts as one absence).

Participation including attendance, is 15% of your final grade, and will be reduced according to

the structure below:

•85-90% attendance = “Participation” Grade can be no higher than a “B.”

•75-85% attendance = “Participation” Grade can be no higher than a “C.”

•70% or less attendance will result in failure of the course.

For EXCUSED absences due to emergency, illness, court appearance, death in the family, or in

order to observe a special religious holiday from affecting your attendance by emailing

documentation of your excused absence (such as a doctor’s note, or note from family) to the

instructor. Regardless if an absence is excused or unexcused, you MUST be in dialogue with

your instructor or a peer to keep pace with course content, and arrange for alternate

participation with any team or collaborative projects. Excused absences are updated twice a

semester, along with your Participation Grade.

Absences from Class

https://provost.uiowa.edu/student-course-policies

University regulations require that students be allowed to make up examinations which have been missed due to illness, religious holy days, military service obligations, including service-related medical appointments, jury duty, or other unavoidable circumstances or other university-sponsored activities. Students should work with their instructors regarding making up other missed work, such as assignments, quizzes, and classroom attendance.

Absences for Religious Holy Days

https://provost.uiowa.edu/student-course-policies

The university is prepared to make reasonable accommodations for students whose religious holy days coincide with their classroom assignments, test schedules, and classroom attendance expectations. Students must notify their instructors in writing of any such religious holy day conflicts or absences within the first few days of the semester or session, and no later than the third week of the semester. If the conflict or absence will occur within the first three weeks of the semester, the student should notify the instructor as soon as possible. See Policy Manual 8.2 Absences for Religious Holy Days for additional information.

Absences for Military Service Obligations

https://provost.uiowa.edu/student-course-policies

Students absent from class or class-related requirements due to U.S. veteran or U.S. military service obligations (including military service–related medical appointments, military orders, and National Guard Service obligations) shall be excused without any grading adjustment or other penalty. Instructors shall make reasonable accommodations to allow students to make up, without penalty, tests and assignments they missed because of veteran or military service obligations. Reasonable accommodations may include making up missed work following the service obligation; completing work in advance; completing an equivalent assignment; or waiver of the assignment without penalty. In all instances, students bear the responsibility to communicate with their instructors about such veteran or military service obligations, to meet course expectations and requirements.

Accommodations for Students with Disabilities

Having a disability is not a barrier to making phenomenal art: but we do need to know what you are

negotiating to properly support your process. If you have any limitations or documented learning

disabilities, please let us know immediately. This includes language limitations, physical illness,

limitations or disabilities, including invisible disabilities such as chronic disease, learning disabilities, head injuries or diagnosed attention deficit disorders—we want to help make this class a positive experience for you from the beginning.

https://provost.uiowa.edu/student-course-policies

The University is committed to providing an educational experience that is accessible to all students. If a student has a diagnosed disability or other disabling condition that may impact the student’s ability to complete the course requirements as stated in the syllabus, the student may seek accommodations through Student Disability Services (SDS). SDS is responsible for making Letters of Accommodation (LOA) available to the student. The student must provide an LOA to the instructor as early in the semester as possible, but requests not made at least two weeks prior to the scheduled activity for which an accommodation is sought may not be accommodated. The LOA will specify what reasonable course accommodations the student is eligible for and those the instructor should provide. Additional information can be found on the SDS website.

In my studio classroom I am committed to fostering an inclusive learning environment for all of my students. I encourage open communication about accommodations and disabilities, and invite any student who may need support to initiate a confidential conversation at any time. I recognize that all students have unique strengths and learning styles, and my goal is to ensure everyone has equitable access to succeed in this course.

In regards to accommodations, religious holidays and athletic obligations:

I would prefer our conversations to begin with an email. A conversation is needed about what constitutes a reasonable accommodation in each specific circumstance.

Other Expectations of Student Performance and technology.

Turn off cell phones and personal devices before entering the classroom. If you on your device during class time you will be marked absent. I understand life and circumstances happen, If for some reason you need to receive a text or phone call during our studio class, please let me know at the beginning of class.  I have expectations for your civil behavior in the class and there will be and consequences for any disturbances of the class. Students are not allowed to be on their phones during class time. If you are needing to make an important call or return a text, please discuss this with me before class begins. We all have the right to come to class and work with a distraction free learning environment please help and listen to each other, arriving prepared for class included in this.

Free Speech and Expression

https://provost.uiowa.edu/student-course-policies

The University of Iowa supports and upholds the First Amendment protection of freedom of speech and the principles of academic and artistic freedom. We are committed to open inquiry, vigorous debate, and creative expression inside and outside of the classroom. Visit the Free Speech at Iowa website for more information on the university’s policies on free speech and academic freedom.

Non-discrimination Statement

https://provost.uiowa.edu/student-course-policies

The University of Iowa prohibits discrimination in employment, educational programs, and activities on the basis of race, creed, color, religion, national origin, age, sex, pregnancy (including childbirth and related conditions), disability, genetic information, status as a U.S. veteran, service in the U.S. military, sexual orientation, gender identity, or associational preferences. The university also affirms its commitment to providing equal opportunities and equal access to university facilities. For additional information on nondiscrimination policies, contact the Senior Director, Office of Civil Rights Compliance, the University of Iowa, 202 Jessup Hall, Iowa City, IA 52242-1316, 319-335-0705, ui-ocrc@uiowa.edu. Although not required, students have the option to share their pronouns and chosen/preferred names in class and through MyUI. Instructors and advisors can find information about a student's chosen/preferred name in MyUI.

Classroom Expectations

https://provost.uiowa.edu/student-course-policies

Students are expected to comply with University policies regarding appropriate classroom behavior as outlined in the Code of Student Life. While students have the right to express themselves and participate freely in class, it is expected that students will behave with the same level of courtesy and respect in the virtual class setting (whether asynchronous or synchronous) as they would in an in-person classroom. Failure to follow behavior expectations as outlined in the Code of Student Life may be addressed by the instructor and may also result in discipline under the Code of Student Life policies governing E.5 Disruptive Behavior or E.6 Failure to Comply with University Directive.

The unauthorized video or audio recording of academic activities (e.g., lectures, course discussions, office hours, etc.) by a student is prohibited. Students with a reasonable accommodation for recording approved by Student Disability Services should notify each instructor and provide the Letter of Accommodation prior to using the accommodation. A student may record classroom activities with prior written permission from the instructor and notice to other students in the class that audio or video recording may occur. Any and all classroom recording must be for personal academic use only. The distribution, sharing, sale, or posting of recordings on the internet (including social media), in whole or in part, is prohibited and doing so may be a violation of the Code of Student Life and/or state or federal privacy, copyright, or other laws.

Academic Honesty and Misconduct

All students in CLAS courses are expected to abide by the college’s standards of academic honesty. Undergraduate academic misconduct must be reported by instructors to CLAS according to these procedures. Graduate academic misconduct must be reported to the Graduate College according to Section F of the Graduate College Manual.

The University of Iowa is a community of scholars which emphasizes the mutual responsibility of all members to seek knowledge honestly and in good faith. Students are responsible for doing their own work, and academic dishonesty of any kind will not be tolerated anywhere in the university. Students themselves must do all work on their own projects. No designs done prior to the semester may be submitted.

Artificial Intelligence (AI) Policy : Standard AI policies in my college art studio classes

As AI technology continues to evolve, our professors at this University are developing specific policies for its use in art studios, aiming to harness its potential while safeguarding the authenticity of human creativity and promoting academic integrity.

Keep in mind this landscape is still evolving,

1. Emphasizing traditional skills and a personal voice

AI should not replace the development of foundational art skills and the cultivation of an individual artistic style and voice.

The primary focus remains on the student's unique creative journey, with AI serving as a tool to enhance that process.

2. Permitted AI use

Using industry-standard tools within creative software (like Adobe Creative Cloud) that incorporate AI features for basic image manipulation is generally permitted.

AI tools can be valuable for:

Research and exploration.

Brainstorming ideas and creating initial concepts.

Generating visual references.

Providing feedback and critiques.

3. Transparency and citation

Students are required to disclose and cite any use of AI tools in their work, similar to citing other research or sources.This disclosure helps us maintain academic integrity and allows us as instructors to understand you, the student’s process.

Citations might include details about the specific AI tool used, the prompts entered, and the extent to which AI contributed to the work.

4. Avoiding plagiarism and intellectual property issues

Submitting AI-generated work as entirely original without proper attribution is considered a breach of academic integrity and will be treated as plagiarism.

Students are asked to avoid using copyrighted material as training data for AI tools or for generating works in the style of existing artists without proper authorization or citation, according to the College for Creative Studies.

5. Penalty for know instances of academic misconduct: A Failing Grade: Receiving a zero on the specific assignment, test, or even failing the entire course where the misconduct occurred is a potential penalty. In some instances, a permanent notation reflecting academic dishonesty may be added to the transcript along with the failing grade.

Date and Time of the Final Exam:

There is not a Final Exam, but there will be a final project due and critiqued in week 16.

You should expect our final critiques to run over 1 or 2 class periods.

The final examination date and time will be announced by the Registrar generally by the fifth week of classes, and it will be announced on the course ICON site once it is known. Do not plan your end of the semester travel plans until the final exam schedule is made public. It is your responsibility to know the date, time, and place of the final exam. According to the Registrar’s final exam policy, students have a maximum of two weeks after the announced final exam schedule to request a change if an exam conflict exists or if a student has more than two exams scheduled for the same day (see the policy here).

Calendar of Course Assignments:

Aug. 25 Opening of classes

Week to week a brief Calendar

Monday. And Wednesday schedule 10:30 am - 12:30

Week 1. August Wednesday 27th

Week 2.Monday September 1st Holiday No classes and Wednesday 3rd

Week 3 Wednesday 10th

Week 4 Wednesday 17th

Week 5 Wednesday 24th

Week 6 Wednesday October 1st

Week 7 Wednesday October 8th

Week 8 Wednesday October, 15th

Week 9 Wednesday October 22nd

Week 10 Wednesday October, 29th

Week 11 Wednesday 5th

Week 12 Wednesday 12th

Week 13 Wednesday 19th

Week 14 Monday November 24th and Wednesday 26th Nov. 23-Nov.

30 - Fall Break

Week 15 Wednesday 3rd FINAL CRITIQUES

Week 16 Wednesday 10th FINAL CRITIQUES

Dec. 12 Close of classes

Dec. 15-19 Final examination week

List of Assignments/works in class Fall 2025

Professional Practice Experience:

Readings, class visits, and field trips, we will consider the careers of artists, curators, and programmers, with particular attention to those with intersectional practices and professional identities. We will use these opportunities to deeply consider artist practices of self-contextualization in relation to critical and historical interpretation. We will also think critically about the role of institutional support -- from residencies, foundations, and fairs to conferences, post-graduate programs, and teaching opportunities.

We will perform in-depth examinations of the programs of a large group of high caliber emergent global galleries that focus on young artists work. The class will also look at a wide breadth of non-profit institutions that are known for providing opportunities to artists who are starting their careers. We will look at applications for those opportunities and how to best prepare for them.

*Research as Practice (Interdisciplinary)

Increasingly, artists are choosing to define their practices as ‘research-based,’ or are

finding their practices described as ‘research-based’ by the critical establishment. One of

the first tasks of this course is to interrogate what exactly ‘research’ does or can mean in

the context of artistic practice, and how this may or may not differ from what ‘research’

means in other contexts. In the simplest sense, a research-based practice is built on a

framework of projects, each of which takes from months to years to develop, and each of

which begins with a process of investigation, an inquiry into a specific topic that can

proceed along scholarly, anthropological, scientific, experiential, collaborative, and/or

creative (among other) lines. Often the form of a project, like the interface of a database,

is determined by the content accumulated during the research process. In practice, this

means that research-based projects can take many different final forms. Indeed the

dominant imaginary of research-based projects – the artist’s archive, artist’s books, text based

installations, or other works operating primarily in the discursive mode – is still

commonly deployed, but these are by no means the only forms into which artistic

research is commuted.

RESEARCH COLLECTION:

What exactly ‘research’ does or can mean in the context of artistic practice,

1.Aesthetic Research : giving pleasure through beauty

2. Pragmatic Research : realistic research

3. Empirical Research: experiences rather than theory

4. Theoretical Research/

5. Personal Research/self analytical

6. Material and process

7. Other artists process and research collection

Critique:

Critique Menu for Students Downloadable PDF provided into ICON

A "menu" of options for students and teachers who wish to discuss and select individually appropriate structures for critique.

Critique Feedback Form - Observe, Analyze, Identify Blind Spots and Generative Contradictions - Downloadable PDF provided This feedback form is a meant to guide students as they develop the skills to review their peers' artwork. This worksheet is about how to speak about a project, not about the FORMAT of the critique itself

Group Critique - There is group critique T.B.D, spending on dates we agree on.

The Discussion Wall ( to be determined by the participants)

This activity allows people in a group to slow down and make an analog version of the digital experience of sharing images, quotations, and readings. Returning to these materials again and again at each gathering can be a good way to move the group, as a collective body, into itself.

FINAL OUTLINE OF GOALS + PRODUCTION DURING OUR SEMESTER TOGETHER:

Transforming habits and experimentation

This is the period of rapid gathering of ideas and versions of an idea, and trying new and old techniques. Brainstorming for a quantity of different responses increases creative thoughts and manifestations. By dispersing these ideas with the group, one’s options enlarge. Introductions: Past experiences and future desires. Discussion: What is your range of painting experience and what are the painting expectations of the class? What is your definition of painting?

Expansion

Research into a range of artists/designers drawings will stretch one’s idea of what constitutes a drawing today. An array of painting’s & drawings presented from a range of cultures will widen the group’s scholarship.

Focus and Context

Before individual meetings, the student will focus on a longer projects/paintings and imagine a final series or project. Understanding the context of your plan in the broader role of drawing will move you into more into original work.

Amalgamations

More complex or ambition ideas or plans require a synthesis or integration of multiple components. Examining how we bring together and prioritize and order these disparate or advancing parts is an advanced stage of learning and creating.

Articulation and resolution

Defending an argument or presenting a painting or drawing project helps define the effort and project’s future work. Deconstructing steps to completion and articulating these steps insure growth. Recognizing a full endeavor and even exhausting options as well as incorporating, editing, and amending final pieces are steps toward a resolution and the succinct and targeted summary of a project.

Notes on the word Intention, Intentionality,

Intentionality is a philosophical concept and is defined by the Stanford Encyclopedia of Philosophy as "the power of minds to be about, to represent, or to stand for, things, properties and states of affairs”. The term refers to the ability of the mind to form representations and should not be confused with intention. Intention is a mental state that represents a commitment to carrying out an action or actions in the future. Intention involves mental activities such as planning and forethought Artists' are among the primary data retrieved by art appreciators. However, artistic creation is not always deliberate; artists sometimes fail in their intentions; artists' achievements depend on art world roles, not only intentions; factors external to the artist contribute to artwork meaning; artworks stand apart from their creators; and interpretation need not be exclusively concerned with recovering intended meaning.

Student Support Resources and Related Policies

Academic Support for this Course

Student drop-in hours

Monday and Wednesday’s 12:30 -2 (Both days)

Mental Health

Students are encouraged to be mindful of their mental health and seek help as a preventive measure or if feeling overwhelmed and/or struggling to meet course expectations. Students are encouraged to talk to their instructor for assistance with specific class-related concerns. For additional support and counseling, students are encouraged to contact University Counseling Service (UCS). Information about UCS, including resources and how to schedule an appointment, can be found at counseling.uiowa.edu. Find out more about UI mental health services at: mentalhealth.uiowa.edu.

Basic Needs and Student Support

https://provost.uiowa.edu/student-course-policies

It can be difficult to maintain focus and be present if you are experiencing challenges with meeting basic needs or navigating personal crisis situations. The Office of the Dean of Students can help. Contact us for one-on-one support, identifying options, and to locate and access basic needs resources (such as food, rent, childcare, etc.).

Student Care and Assistance 132 IMU  dos-assistance@uiowa.edu  319-335-1162  Basic Needs info:

· Food Pantry at Iowa

· Clothing Closet

· Basic Needs and Support Resources

Sexual Harassment/Sexual Misconduct and Supportive Measures

https://provost.uiowa.edu/student-course-policies

The University of Iowa prohibits all forms of sexual harassment, sexual misconduct, and related retaliation. The Policy on Sexual Harassment and Sexual Misconduct governs actions by students, faculty, staff and visitors. Incidents of sexual harassment or sexual misconduct can be reported to the Office of Civil Rights Compliance or to the Department of Campus Safety. Students impacted by sexual harassment or sexual misconduct may be eligible for academic supportive measures and can learn more by contacting the Office of Civil Rights Compliance. Information about confidential resources and videos explaining these resources can be found on the Office of Civil Rights Compliance website.

Conflict Resolution

https://provost.uiowa.edu/student-course-policies

The Office of the Ombudsperson is a confidential, impartial, informal, and independent resource for any member of the university community with a problem or concern. The Office of the Ombudsperson offers a safe place to discuss conflicts or concerns. Students are encouraged to reach out for assistance. The office will brainstorm with students to help identify options, answer any questions, and provide referrals to other offices as appropriate. More information about the Office of the Ombudsperson, including how to schedule an appointment, can be found at ombudsperson.org.uiowa.edu.

School of Art, Art History, and Design addendum for those taking classes in Studio Art:

General Safety Training

If you are enrolled in a studio-based course in the SAAHD, you are required to read, understand and complete all ICON Safety and Orientation module(s) assigned to you on your icon dashboard. You have been automatically enrolled in this coursen and you can locate it on your list of icon courses. Additionally, the entire list of all program-based safety/orientation icon courses can be accessed via the SAAH home page, under “SAFETY” for your convenience.

Studio Model Policy and Guidelines

Drawing from the live nude model may be part of some drawing and painting courses and may include models of any gender identity. Sculpting from a live nude model could be part of a sculpture course and may include models of any gender identity. Instructors and students should demonstrate consideration for the model and behave professionally and with respect. This will include an instructor discussing the purpose of particular poses with the model, and the right of the model to choose to accept or reject a given assignment. It is not appropriate to touch the model or ask that models touch one another in a pose. All sheets used in any modeling session are to be put in the blue laundry box located in bag in each room. Only the faculty member and the students enrolled in the class are allowed in the studio classroom when the model is posing. The doors to classrooms using studio models should be kept closed, and signs posted on the door for privacy.

Woodshop Use and Fees

The School of Art, Art History, and Design Wood shop is a common use facility for any student enrolled in a studio art class. The wood shop has a $25 fee per semester. This fee goes towards the replacement of consumables and other shop related expenses. The students will be U-billed after they have received required safety training. This is required every semester.

2025 Fall Semester

Aug. 25 Opening of classes

Sept. 1 University holiday, no classes, offices closed

Nov. 23-Nov.30

Fall break (consult Dentistry and Medicine

collegiate offices for break dates)

Nov. 27-28 University holidays, offices closed

Dec. 1 Classes resume

Dec. 12 Close of classes

Dec. 15-19 Final examination week

Dec. 18-21 Commencement ceremonies*

Dec. 25 Federal holiday, offices closed

Dec. 25-26 University holidays, offices closed