Joseph Grigely

This course is an experimental seminar devoted to recent discussions about disability in the US and in Europe: how is disability represented, and how are these representations constructed? Readings include the following, among many other texts: Georgina Kleege's Sight Unseen, Julia Kristeva's recent essays on disability, and several Supreme Court Opinions regarding ADA, including Alabama v. Garrett, Toyota v. Williams, and Tennessee v. Lane. In the second half of the semester, seminar participants present papers and related research on disability as a social and theoretical construction.

This course is an experimental seminar devoted to recent discussions about disability in the US and in Europe: how is disability represented, and how are these representations constructed? Readings include the following, among many other texts: Georgina Kleege's Sight Unseen, Julia Kristeva's recent essays on disability, and several Supreme Court Opinions regarding ADA, including Alabama v. Garrett, Toyota v. Williams, and Tennessee v. Lane. In the second half of the semester, seminar participants present papers and related research on disability as a social and theoretical construction.

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.

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.

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.

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.

This graduate-level course immerses students in research methods and resources for use in their Visual and Critical Studies coursework and their theses. Guest speakers include librarians and curators. Students combine study of general research information with the pursuit of individual research projects directed by the instructor. [This is a required course for first-year students in the MA in VCS program.]

This course is a graduate studio critique for both MAVCS students and MFA students. The course is structured as a hybrid seminar/critique, with weekly readings, discussions, and studio critique sessions. The course also includes writing assignments as an integrated element of contemporary studio practice.