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Not necessarily sure what you mean by the question. Are you asking if mathematics could be a pre-req for a design course?In my experience with hiring creative people and working closely with Art institutions, Math is not a pre-req for a design or arts program (not course).To the other part of your question, no singular course or program can make you an art director nor does Math in your transcript make it an easier to become one. It requires experience and great talent that leads to client successes that will build you up into that role.Finally, I will say that understanding Math to better understand geometry and shapes may be helpful in design, along with grids and layout, especially when designing large executions but there is no requirement as such as some creatives have this innately as part of their early creative training.

Once again, art itself has long since anticipated the criticisms made of it by people who don’t know their art history.The artist Piero Manzoni went pretty much as far as you can go, in this respect, when in 1961 he produced a series of 90 cans, each of which was labelled, signed and numbered and in each of which he claimed to have sealed 30 grams of his own faeces. The title? Merda d’artista: ‘Artist’s shit’.Manzoni’s father owned a cannery, and reportedly once told his son, ‘Your work is shit.’ In a letter to fellow artist Ben Vauthier, Manzoni had said:[I]f collectors want something intimate, really personal to the artist, there's the artist's own shit, that is really his.The work of artists like Manzoni was created in part in reaction to the grotesquely high prices which even then were being paid for paintings by people like Picasso.Part of the joke with Artist’s Shit is that we only have Manzoni’s word for it that the cans actually contain shit.They’re made of steel, so that x-raying them won’t work, and if you open the can, you permanently lower its value, so you can’t open them. One friend of Manzoni has claimed that they don’t contain shit at all, but plaster.This was all part of the tendency within 60s art to critique the commodity fetishism which drove the prices of prestige art through the roof. That fetishism is as alive as ever, but nobody bothers to learn their art history, so the context for things like Maurizio Cattelan’s Comedian, the artwork consisting of a banana duct-taped to a wall, is completely missing.Cattelan (1960- ) is firmly within the Manzoni tradition of post-Duchampian art-pranksters. I think some people think that the banana was taped to the wall because Cattelan was dopily saying I think that this banana is as beautiful as a painting, or some such nonsense. In fact it’s out of a spirit of making jokes about the extent to which the art world places a ludicrously high value on sheets of cloth with pigment smeared over them. Unfortunately, this is entirely lost on people who are ignorant of the last 60 years of art history, and for whom art is all about nice pictures. I’m pretty sure that Cattelan used a banana because of its associations with slapstick comedy: the title of the work is, after all, Comedian.The tradition in which Manzoni and Cattelan operated was subsequently extended into what’s sometimes called institutional critique. One of the ultimate practitioners of this is the American artist Andrea Fraser (1965- ), who for sheer moxie ought to be given a genius grant.I first became aware of Fraser’s work through reading a transcript of her 2001 performance Official Welcome, in which she brilliantly, hilariously mimicked first the pretentious verbiage of an arts administrator introducing a new work, then the tormented, inarticulate mumbling of a stereotypical troubled artist, before stripping down to bra, thong and high heels and then crossing the line even further. I managed to find a video of it online, and it wouldn’t work if Fraser weren’t gifted with perfect comic timing. It’s one of the funniest and most jaw-dropping performances I’ve ever seen.In 2003 Fraser went even further with Untitled, in which she had a sexual encounter in a hotel room with a private collector who had paid a lot of money to make an artwork, which consisted of a DVD of the encounter itself. (The figure paid for Untitled has been claimed as $20,000, although Fraser says this is ‘way off the mark’.) Only five copies were made, one of which is in the hands of the collector, and you’re not going to find bootlegs of it on the internet.Once again, art has gone way, way farther than people think it has, in looking at its own practices and asking embarrassing questions about them. Is art prostitution? Is Untitled prostitution? If so, why? If not, why not?In these contexts, Cattelan’s banana is small potatoes; a mere cover version of a tune by Marcel Duchamp. I prefer his surreal La Nona Ora (‘The Ninth Hour’), which depicts John Paul II being struck down by a meteorite: