Undergraduate Overview

Curating today is a dynamic, many-facetted activity with open boundaries: artists, writers, historians, editors, event-, festival- and symposium organizers generate projects, configure actors and move objects across platforms. This course will trace pathways through the many options contemporary art worlds hold. It will explore curatorial rationales, outcomes and support materials by parsing examples through images, readings and site visits. Students are encouraged to develop curatorial prototypes. Both playful experimentation and the framing of more formal proposals will be supported.

This course frankly addresses a critical and underserved niche in professional development?the necessity for young women of color to be able to self-direct their goals, and fully achieve those goals, regardless of environment. Subverting marginalization while growing a career and visioning oneself as a leader, without silencing yourself or burning out, remains a challenging reality for so many women of color. This is an experience many encounter early on, but which can be reframed so that the education and career processes do not point toward assimilation, or invisibility, or the anxiety of always being on guard. These concerns about combatting marginalization, which are shared among Latinx, Black American, Asian American, and international students at SAIC, have been brought privately to trusted faculty here and at art schools nationwide. In this class, we will work together to develop strategies for conquering these issues. Course work will include readings from authors such as the following: Jhumpa Lahiri, bell hooks, Ifeona Fulani, Lisa Jones, Hettie Jones, Ana Castillo, Nicola Yoon, Suheir Hammad, Staceyann Chin, Erika L. Sanchez, Suzan-Lori Parks, Zadie Smith, ZZ Packer, Melba Pattillo Beals, Yuri Kochiyama, Deepa Mehta, Gina Prince-Bythewood, Barry Jenkins, Jon Chu, Caryl Phillips. Each student will produce a memoir as a key element of this class, responding to the readings and analyzing their own experiences as well as senior colleagues,? continuing to develop and trust their voice. In addition to the memoir, each student will produce and develop an individual arts leadership project, or deepening of a specific skill set; and will work with classmates on a publication or resource that documents the group?s conversations with invited guests.

This seminar introduces and develops professional practices for students pursuing a freelance career in comics, illustration, animation, or the like. By creating promotional material, portfolios, contracts, and invoices, students learn how to market themselves as freelance artists. In tandem with learning the ins and outs of industry standards, they have access to insight and advice from a variety of guest speakers whose careers and professional paths have paved the way for future creators. Readings will vary but typically include 'The Freelancer's Bible: Everything You Need to Know to Have the Career of Your Dreams- On Your Terms' by Sara Horowitz, 'The Graphic Artist Guild Pricing and Ethical Guidelines Handbook,' and 'Burn Your Portfolio' by Michael Janda. Students will create, revise, workshop, and submit a variety of professional documents that culminate in a compendium over the course of the semester. These are all documents that will prove to be necessary for a freelancing career. There will be weekly responses to readings, and rotating guest speakers to provide in-sight on their professional journeys.

This course is a multidisciplinary seminar that will present strategies for developing and sustaining your own studio practice and help prepare you for life after art school. It will provide practical instruction in getting started on and succeeding with your career after graduation and help you gain a critical understanding of your own artwork or creative endeavor and it's relationship to the larger cultural moment. The student will have the opportunity to create a cohesive body of work or curatorial project specific to each individual student's interest. Additionally, we will examine art historical precedents, contemporary ideas and practices in the art world, and the role of the artist in contemporary culture. The textbook for the class is Art/Work-Everything You Need to Know (and Do) as you Pursue your Art Career, Heather Darcy Bhandari and Jonathan Melber, in addition to readings from current sources, such as Artforum, Art News, New York Times, etc. The student will propose a project that he or she will complete over the course of the semester (which can include preparation for the BFA Exhibition.)The class will include readings and discussions, individual presentations, writing an artist's statement, resume, and cover letter, press release and exhibition announcements, project proposal, and discussions with visiting artists and curators, gallery and museum visits, and class critiques. We will explore graduate school considerations, traditional and alternative strategies for exhibiting and self-promotion, developing an online presence, creating a support system and community, and earning a living as an artist. You will be also presenting your endeavors through at least one PowerPoint presentation.

This course prepares students to start and manage arts businesses or organizations - whether it be concerning a for-profit or non-profit so that students can see the similarities and differences between the two types of organizations which comprise the field of arts administration. The course surveys the entrepreneurial practices of the for-profit sector as well as the mission-driven operations of the nonprofit sector. Skill Sets Learned include: how to choose the correct legal entity; staff management: interviewing, hiring, and directing; understanding Marketing strategy using the 5Ps approach (Product, Price, Packaging, Promotion, and Place); basic awareness of Accounting and Financial Records; knowledge of the basics of Contracts and Intellectual Property so as to protect their creative work; familiarity with the basic principles of Economics that affect their business; potential sources of business loans and investors; selecting appropriate Business Insurance; and Business Ethics. Students write a brief business plan so as to understand of the components and activities that are relevant to a plan. Additionally there is an assignment for a manager?s perspective for a business start up and another for a marketing plan. Course includes 2 written exams in which the student is hired as a business consultant to advise a new business. Also, there are several in-class activities to enhance student?s working knowledge of various business concepts.

This course explores the field of contemporary art and its dynamic market. Money combines with other forms of capital as an engine at the heart of an expansive and globally-networked art world. From the “sacred” spaces of the museum or studio to the “profane” realms of commercial galleries, auction houses and fairs, we will learn how competing logics of culture and markets coalesce. Drawing on a variety of readings, as well as field trips, guest lectures and case studies, we will examine the inter-related actors, institutions, and behaviors that drive and, sometimes, destabilize the art world’s economic activity. This is an ecosystem of artists, dealers, advisors, collectors, activists, auction houses, museums, fairs, biennials, and commercial galleries. Through these introductions, we will better understand how different forms of capital—social, cultural, and financial—are prerequisites to influence and power in an art market that is at once an economy of information and objects. With a focus on the present, but in the context of the last half century, readings will include texts from the point of view of economists, sociologists, artists, curators, critics, and historians. Students can expect to perform case studies on artists, particularly those who have achieved significant market success. Course work will vary, but typically include weekly reading responses, case studies, class presentations, and a final project or paper.

Where does an artwork begin & end? Where does an exhibition begin & end? Is an exhibition solely about the materialization of specific works of art, or is it also—and if so, in what ways—about the various conventions that go into the making of exhibitions—which include press releases, announcement cards, checklists, wall labels, catalogues, and digital-based media? Conventions like these are representations. We engage in different kinds of representations both because of the implausibility of re-presenting, and also because representation is a means by which we further, through the use of language and images, and through a process that is both otherwise and otherhow, the reach of the real. In this respect, moving closer to the artwork involves moving away from the artwork--to look closer at fringes and margins and representations, and ask a very fundamental question: to what extent are these various exhibition conventions actually part of the art--and not merely an extension of it? While the course is experiential and practical, it also explores conceptual issues underpinning the relationship between curatorial and creative practice. The class is open to both graduate and undergraduate students interested in curating across many historical periods, as well as BFA and MFA students interested in the ways exhibitions create contexts for their work, and how they might participate in the construction of these contexts.

The administration of art and culture is one that operates through institutional pathways towards aesthetic creativity and colelctive ways of life. The administrator, in the role of artistic director, creative lead, or cultural project manager, bridges these registers. It is therefore within these different roles between artists and administrators that we encounter an opportunity to test and experiment with different practices. Ranging from topics such as project budgeting, documentation, and planning to creative influence, relationship management, and conceptual translations, this course teaches practical skills while exploring how they might be framed by critical policy conversations and artistic practice. This course will draw on individual projects that have been previously developed and executed as case studies. We will observe readings that inform cultural funding models, like the NEA, through an approach that considers who these processes have historically developed. Students will be exposed to design thinking, project management, current cultural policy (US); urban cultural plans, contemporary commentary on within the current economy, fundraising, and programming models. Students will begin the process of grant writing, communication strategies, and evaluation metrics. Course work will vary but typically will include weekly readings, and a gradual build of a semester-long project. This will include the development of a project plan, a budget, and working timeline.

This course examines cultural policy issues within arts organizations and society. A central objective of the course is to develop student understanding of the mission and operation of different arts organizations in the context of society's structures and needs. Cultural policy at the National Endowment for the Arts, along with other national models, will be critically analyzed. The philosophical foundations of the nonprofit sector, and the developments that have taken place there in recent times, will be examined. The educative role of the arts, and how this can be effectively integrated with an arts organization's program will be addressed through case studies. Alternative organizational models will be introduced, to encourage new thinking in the development of organizational missions. You must be a Master of Arts in Arts Administration student to enroll in this course.

This course examines cultural policy issues within arts organizations and society. A central objective of the course is to develop student understanding of the mission and operation of different arts organizations in the context of society's structures and needs. Cultural policy at the National Endowment for the Arts, along with other national models, will be critically analyzed. The philosophical foundations of the nonprofit sector, and the developments that have taken place there in recent times, will be examined. The educative role of the arts, and how this can be effectively integrated with an arts organization's program will be addressed through case studies. Alternative organizational models will be introduced, to encourage new thinking in the development of organizational missions. You must be a Master of Arts in Arts Administration student to enroll in this course.

The Management Studio is a space in which to explore 21st century leadership and management though a practice based investigation of contemporary organizational, project, and leadership models with an eye toward designing frameworks for the future. In addition to investigating so-called traditional management models, students will engage with current cultural management/leadership theory and practice around sustainability, networks, leadership, collaboration, equity, engagement, and governance, as well as emergent models for supporting innovation, creativity, and adaptation. A distinguishing element of this course is the project-based learning environment. Management Studio integrates skill-building projects into the course work for the purpose of practicing and developing individual and group strategies. The projects in the studio are developed with external and internal partners and engage a broad set of skill building opportunities. Students select projects based on interest and personal development trajectories. The premise of this course is that participants will be active leaders in shaping the future of cultural/arts management. As such, the course invites broad and active participation and preparation for every class meeting. As a ?hands on? examination of management practice and theory, students are urged to critically engage with the material and to participate in class discussions, projects, presentations and debates. Each student will work on an ongoing project in addition to class preparation to include reading, discussion and presentation. Class will generally be divided into two sections. The first section will include discussion and/or presentations of readings and assignments. The second section will include project report outs and project work/discussion.

The Management Studio is a space in which to explore 21st century leadership and management though a practice based investigation of contemporary organizational, project, and leadership models with an eye toward designing frameworks for the future. In addition to investigating so-called traditional management models, students will engage with current cultural management/leadership theory and practice around sustainability, networks, leadership, collaboration, equity, engagement, and governance, as well as emergent models for supporting innovation, creativity, and adaptation. A distinguishing element of this course is the project-based learning environment. Management Studio integrates skill-building projects into the course work for the purpose of practicing and developing individual and group strategies. The projects in the studio are developed with external and internal partners and engage a broad set of skill building opportunities. Students select projects based on interest and personal development trajectories. The premise of this course is that participants will be active leaders in shaping the future of cultural/arts management. As such, the course invites broad and active participation and preparation for every class meeting. As a ?hands on? examination of management practice and theory, students are urged to critically engage with the material and to participate in class discussions, projects, presentations and debates. Each student will work on an ongoing project in addition to class preparation to include reading, discussion and presentation. Class will generally be divided into two sections. The first section will include discussion and/or presentations of readings and assignments. The second section will include project report outs and project work/discussion.

The ProSeminar program converges the complex narratives of policy, theory, and artistic and management practice through a series of guest talks and discussions. Guests invited for each semester program engage a broad set of practices which intersect with cultural resources and how they are articulated, (re)presented, sustained, accessed, used, and supported. A distinguishing characteristic of many of the Fall semester guests is their leadership in advancing both discourse and action in their field by navigating complex and often inert systems and power structures to instigate and produce new ideas; and by affecting behaviors and systems critical to the future. The ProSeminar program converges the complex narratives of policy, theory, and artistic and management practice through a series of guest talks and discussions. Guests invited for each semester program engage a broad set of practices which intersect with cultural resources and how they are articulated, (re)presented, sustained, accessed, used, and supported. A distinguishing characteristic of many of the Fall semester guests is their leadership in advancing both discourse and action in their field by navigating complex and often inert systems and power structures to instigate and produce new ideas; and by affecting behaviors and systems critical to the future. This course seeks to be more than the sum of its parts--an environment where new ideas can emerge and develop. Broad participation and active listening are essential. Students are expected to read guest biographies and materials advanced by guest speakers before class, and to be prepared to participate in discussions. All materials will be made available in advance of class meetings. Following each lecture, each student will be required to write and submit a critical reflection on the knowledge, ideas and stories presented by the guest speaker. This exercise should include reflections on the presentation and should be at least two to three paragraphs of critical writing. Following the guest presentation, there will be a facilitated discussion with the entire class. The time allotted for this may vary from class to class, specifically as it pertains to off-site visits.

This course we will focus on achieving skills to develop a wide range of contemporary art consulting practices. Students will be exposed to an overview of the consulting industry, as well as the specifics of arts consulting. Topics will include setting up a business, budgeting, client analysis, leadership, buying art for individuals, corporations and foundations, artists' commissions, facility planning, and artist advocacy. This course is intended to provide opportunities for students to gain proficiencies in the variety of skills required to practice art consulting. Readings typically include one textbook on Consulting, partial readings from an Arts Consulting book, and viewing YouTube and online articles. The class format will be a combination of lectures, guest speakers, and a full class of leadership activities. Students will produce three assignments ? one choosing a work of art for a hypothetical collector following a trip to EXPO Chicago, another choosing works of art for a collector following a tour of a Chicago Collector?s home, and finally, the development of an art program project for a hypothetical client, such as a corporation, private collection, or law office. The goal of this class is to provide students with an understanding of entrepreneurship.

Research Studio is designed to provide students with the skills and support necessary to generate research questions, organize conceptual frameworks, critically evaluate research methodologies and construct research design, to generate viable thesis proposals in advance of completing a Master of Arts Administration and Policy thesis. This will be accomplished through readings, lecture, discussion and workshopping activities, in conjunction with individual advising opportunities. Students will develop a research proposal of their own design, with the option to focus on preparing a proposal for a project or paper thesis. The overall concern is that students develop thesis proposals which promise to yield timely research of value to the field. Prerequisite: You must be a Master of Arts in Arts Administration or Dual Degree student to enroll in this course, or by instructor consent.

Arts leaders affect cultural change not through their vision alone, but in their ability to mobilize stakeholders. Similarly, effective arts communicators do more than express their ideas. They consider who is reading or listening and understand they must create value for their audiences, to change the perception of an institution, a policy, an artist or a work, and to move people to action. This course prepares students to be effective arts communicators. This course prepares students to become successful communicators, both in the academy and the arts and culture workplace. They will learn to write and speak to groups by locating and addressing the problems their audiences care about. Participants also will analyze the textual features of arts writing in various forms, inspecting the language and stylistic conventions that reflect the core values of a discourse community of writers and readers. Through readings, writing assignments, presentations and workshops, students will develop a portfolio of writing samples, gain public speaking experience, and become critically aware of their own communications processes and strategies.