Hardest courses in Art Department

Historical reviews of Dennis Miller: Students report tons of work, all-nighters, and extensive research requirements prior to design phases.[1, 2]

Historical reviews of Claire Tomkiw, Dennis Miller: Miller's course required weekly essays, a large research paper, and memorization of numerous artifacts, while Tomkiw assigned weekly writing and discussion posts with minimal grading feedback.[1, 2, +3]

Workload varies significantly; some students report minimal effort is needed beyond attendance and note-taking, while others find the reading assignments heavy and difficult to interpret. Exams are described as straightforward because the professor explicitly outlines exam content during lectures, not because of the study guides.[1, 2, +2]

Historical reviews of Dennis Miller, Henrique Nardi: Reviewers report heavy workloads, strict attendance policies, and extremely difficult quizzes that heavily impact final grades, with some noting unclear rubrics and rapid assignment turnarounds.[1, 2, 3]

A historical review describes Lynda Barry as an incredible and caring instructor who inspires students and helps them delve into art.[1]

Historical reviews of Lisa Gralnick, Lucas Pointon: Reviewers consistently report high workload, requiring significant time outside class to complete projects, with some noting the demand is intense enough to conflict with jobs.[1, 2, 3]

Reviewers describe his lectures as grueling, long, and delivered in a monotone voice, with slow pacing that some find excruciatingly dull.[1, 2, 3]

Historical reviews of Claire Stigliani, Gabe Strader-Brown, Jordan Adams, Matthew Mauk: Workload expectations vary significantly; some instructors demand heavy effort and assign busy work, while others offer reasonable assignments that students can complete within class time.[1, 2, +3]

The course features fun projects and demonstrations, with small class sizes allowing for personal insight sharing.[1]

Students must familiarize themselves with Adobe programs and SketchUp before class, as lectures often skip basics. The workload involves difficult platforms and significant outside tutorial reading, which some find overwhelming.[1, 2, 3]

Historical reviews of Annmarie Suglio, Cullen Houser: Workload involves making art with anticipated hours, and attendance is mandatory. Grading is straightforward for projects, but deadlines require advance notice.[1, 2]

Historical reviews suggest the workload is manageable, allowing for an easy A if students attend artist talks and write reflections.[1]

Historical reviews of Matthew Mauk: Reviewers indicate that consistent effort and attendance are required to succeed, with workloads described as manageable for those willing to engage with the material.[1, 2]

Historical reviews of Fikriye Ozmeral, Jeff Chelf, Kaylyn Gerenz, Kyle Herrera, Matthew Mauk: Workload varies by instructor, ranging from low-effort creative projects and short writings to closed-book quizzes and extensive writing assignments with slow grading.[1, 2, +3]

Work involves long but clear demonstrations and independent project time, requiring outside class visits for productive students.[1]

The course offers revisions for extra points and extra credit opportunities.[1]

Historical reviews of Stephen Hilyard: Reviewers report high workload involving six hours of weekly video tutorials and complex projects, noting that success requires starting early and understanding the taught software rather than cramming.[1, 2]

Historical reviews of FATEMEH FANI: Students report unclear due dates, assignments missing from the syllabus, and strict penalties for lateness, creating a stressful workload management experience.[1, 2]

Frederick Stonehouse is a great professor who provides helpful feedback and shares real-world art industry experience.[1]

Historical reviews of Derrick Buisch: Reviewers report minimal outside work and loose project guidelines, though one notes strict time management requirements for the 8:50 AM class.[1, 2]

Assignments are time-consuming and require significant effort to work through creative problems, though the struggle yields positive results.[1]

Historical reviews of Gerit Grimm: The course is time-consuming, requiring significant studio work outside of class. Reviewers note that the craft involves innate time commitments, and students should be prepared to spend considerable effort on projects to succeed.[1, 2]

Historical reviews of Gail Simpson: The class involves sitting for two hours with a break, which some students find lengthy.[1]