You are here
The SAIC 150th Anniversary Gala raises more than $1.2 million for student scholarships.
How a student painting caused a major controversy at SAIC and changed the School.
This past fall, a group of SAIC students and faculty spent a weekend in Mineral Point to meet local artists, research the town's history, and engage with the community.
A new scholarship and recent exhibition pay tribute to a much-loved SAIC professor and artist who influenced everyone who met her.
Orly Genger (Post-Bac 2002) forms public dialogues from sculptural installations.
The inaugural Chicago Architecture Biennial is an opportunity for SAIC to show its design side.
A new art and science course bring together two schools to develop collaborative visualizations of big data.
For the past three decades, Ian Schneller (MFA 1986) has been carving out a career in sound.
Alum’s practice explores her experience as a Cambodian refugee in America and a Muslim woman in her Buddhist homeland.
SAIC alum and Iraqi refugee Wafaa Bilal (MFA 2003) confronts the conflict back home by eliciting participation and challenging perception.
After World War II, the Monster Roster— a group of predominantly SAIC artists led by Leon Golub—established a deeply existential and fiercely independent Chicago style that had a lasting impact on American art.
An interdisciplinary group of international artists, designers, and collaborators presented new possibilities by bringing the end of the world to Chicago.
SAIC Professor Claudia Hart wages war on the separation between technology and femininity.
SAIC alum Joe Zucker (DIP 1964, MFA 1966, HON 2013) offers advice to young artists, emphasizing the importance of an arts education that spans varying fields and genres.
A record number of SAIC alumni and faculty members took part in the 2014 Whitney Biennial.
Over the past three decades, SAIC professor and alum Eduardo Kac (MFA 1990) has redefined the avant-garde.
The alumni duo, Luftwerk, is known for their dazzling installation of light and sound.
Dread Scott (BFA 1989) talks about the provocative work that the President of the United States deemed “disgraceful.”