A person performing while draped in sheets

“Unravel” Madison Mae Parker (photo courtesy of the artist)

Graduate Curriculum & Courses

Graduate Curriculum & Courses

The Master of Fine Arts (MFA) program at the School of the Art Institute of Chicago (SAIC) is designed to offer maximum flexibility in addressing your individual needs as a student. Following admission through a department, you will design your two-year plan of study based on optimizing the offerings and opportunities available throughout SAIC. You are encouraged to seek out curricular advising as needed from a variety of available sources including the dean, graduate dean, graduate division chair, department heads, academic advising, the graduate admissions office, and your peers.

Studio—MFA 6009 Graduate Projects, Seminars and/or maximum of 12 credits of 3000-level and above studios39  
Art History12  
  • ARTHI 5002 Graduate Survey of Modern and Contemporary Art OR ARTHI 5120 Survey of Modern and Contemporary Architecture and Design(3)
  • Art History Courses, 4000-level or above (9)
 
Electives—any course in any area at 3000 level or above9  
Participation in four graduate critiques 
Participation in ONE of the following as appropriate to artistic practice:* Graduate Exhibition, AIADO or Fashion Exhibition, Graduate Performance Event, Graduate Screenings 
Total Credit Hours60

* Students who wish to use an alternative venue or presentation outside of these options must receive permission from the Dean of Graduate Studies. The AIADO Department encourages students in their MFA design programs to participate in the AIADO and Fashion Graduate Exhibition.

Degree Requirements and Specifications

  • Completion schedule: You have a maximum of four years to complete your MFA in Studio degree. This includes time off for leaves of absence. Students will have access to studios for four semesters only.
  • Transfer credits: You must complete a minimum of 45 credit hours in residence at SAIC. You can request up to 15 transfer credits at the time of application for admission, which are subject to approval at that time. No transfer credits are permitted after a student is admitted.
  • Art History requirement: MFA students are required to take ARTHII 5002 Graduate Survey of Modern and Contemporary Art OR ARTHI 5120 Survey of Modern and Contemporary Architecture and Design. Art History courses must be at the 4000-level and above.
  • Undergraduate studio courses: Graduate students are permitted no more than one undergraduate studio course (3000-level and above) per semester without permission of the Dean of Graduate Studies. Courses at the 1000 and 2000-level are allowed only with permission.
  • Full-Time Status Minimum Requirement: 12 credit hours

MFA 6009 Graduate Projects

MFA 6009 Graduate Projects advising, an ongoing individual dialogue with a wide range of full-time and part-time faculty advisors, is at the heart of the MFA program at SAIC, encouraging interdisciplinary study across the curriculum. You are required to register for one MFA 6009 Graduate Projects advisor each semester, and we highly recommend you register for two.

In the registration process, you may elect to earn 3 or 6 hours of credit with each advisor. This option is designed to allow for maximum flexibility in designing your program. You can earn as few as three and as many as six credits with each advisor each semester, thus dedicating a maximum of 12 credit hours to your studio activity. The number of credits you earn has no correlation with the length or frequency of the advising sessions or to faculty assessment of student work.

The remaining credits required for the full-time 15-credit-hour load may include graduate seminars and academic or studio electives. MFA students are urged to take graduate seminars, and an introductory seminar in their department of admission is highly recommended. In addition, the MFA student may choose from all the art history, studio, and academic offerings across the curriculum (including undergraduate offerings above 3000 level) in any given semester to customize their degree experience.

Graduate Critiques

As one of the principal means of assessment each semester, you will be required to participate in Critique Week, a week-long schedule of critiques during which classes are suspended.

Fall semester critiques are organized by department with panels representing the discipline. This provides you with an opportunity to understand the department’s expectations, have your work reviewed from a disciplinary point of view, and to reiterate the expectations for graduate study.

Spring semester critiques are interdisciplinary, with panel members and students from across SAIC disciplines. Interdisciplinary critiques allow for a broad range of responses to your work, and are intended to assess the success of your work for a more general, albeit highly informed audience. Critique panels include faculty, visiting artists, and fellow graduate students.

Graduate Exhibition or Equivalent

At the conclusion of your studies, you will present work in the SAIC Graduate Thesis Exhibition, other end-of-year events at SAIC, or the Gene Siskel Film Center—or arrange with the graduate dean or division chair for an alternative thesis of equal professional quality. Each year more than 200 graduate students exhibit work, screen videos and films, and present time-based works, writings, and performance to a collective audience of 30,000 people.

Students wishing to install work around prevalent themes, strategies or stylistic affinities can participate in a juried and curated section of the SAIC Graduate Thesis Exhibition. A faculty and staff committee conducts extensive studio visits and as a collaborative project with student participants, organizes and installs the show in designated space at the exhibition.

Undergraduate Courses

MFA students are advised to understand the expectations of their faculty when enrolled in undergraduate studio classes. Although graduate students are an asset to the group dynamic, faculty requirements for graduate students in undergraduate classes are variable. The student is responsible for understanding the faculty member's expectations about completion of assignments, attendance, and any other criteria for earning credit. To assure that graduate students are working at degree level, they are permitted no more than one undergraduate studio course (3000 level and above) per semester without permission of the dean of graduate studies. Courses at the 1000 and 2000 level are allowed only with permission.

Course Listing

Title Catalog Instructor Schedule

Description

This course introduces the student to a wide spectrum of performance forms including performance in every day life, rituals, folk forms, artists' actions, experimental dance and theatre, activist performance, and intermedia forms. Students learn the history of performance practices, explore theoretical issues , and develop individual and collaborative works. Primarily a beginner's course but open to all levels of students.

Class Number

1797

Credits

3

Department

Performance

Area of Study

Gender and Sexuality

Location

MacLean 2M

Description

This course introduces the student to a wide spectrum of performance forms including performance in every day life, rituals, folk forms, artists' actions, experimental dance and theatre, activist performance, and intermedia forms. Students learn the history of performance practices, explore theoretical issues , and develop individual and collaborative works. Primarily a beginner's course but open to all levels of students.

Class Number

2314

Credits

3

Department

Performance

Area of Study

Gender and Sexuality

Location

280 Building Rm 012

Description

This course serves as an introduction to the puppet as performing object from traditional forms to contemporary practice. The class will focus on performance techniques with only basic instruction on fabrication. Students will create short form works centered on the puppet or informed by the language of the puppet. Additionally techniques of co-performance with the puppet and the puppeteer are introduced exploring themes of the doppleganger and the other. Students are exposed to work in the field by attending 3 productions outside of class and viewing of video documentation work such as Handspring, Giselle Vienne, Geumhyung jJeong and Bread & Puppet. Additional readings on contemporary puppet theory are included. The first half of the semester specific performances techniques are introduced such as Guignol hand puppetry, overhead projector and screen and rod shadow puppetry and three-person and one-person Bunraku style doll puppetry. Also introduced are rod puppet, scroll theater, Cantastoria and toy theater performance. Each technique then includes a theme and focus for the creation of a short original work. The second half of the semester focuses on the creation of work of the student?s choosing.

Class Number

1795

Credits

3

Department

Performance

Location

280 Building Rm 012

Description

Motion Lab is a hands on learning laboratory for movement. Students will learn different choreographic improvisation and somatic strategies including Laban and Alexander Technique, Graphic/visual and poetic scoring. Students will experiment, share and stage completed movement works. Pulling from the movement strategies of Internationally recognized choreographers and physical performance practicioners such as Johnathan Burrows, Deborah Hay, The Judson Church, SITI Co/Mary Overly/Viewpoints, La Pocha Nostra and Katherine Dunham, students will view critical works, test choreographic strategies and develop their own works. All assignments and exercises are movement based leading to the development of fully realized and staged works by the end of the semester.

Class Number

2144

Credits

3

Department

Performance

Area of Study

Gender and Sexuality, Playwriting/Screenwriting, Public Space, Site, Landscape

Location

MacLean 2M

Description

This studio course will examine the ways that disabled artists use their experiences of impairment to create their work. Through showings and critique, group discussions, engagement with work by and about disability art, and critical reflections, we will explore disability and access as political, social, and deeply embodied phenomena. Together, we will embody and explore practices developed by disabled artists, ultimately reaching toward a disability-informed method of making, rehearsing, and producing performance. We will engage with disability art emerging across various mediums and historical moments, such as work by Kinetic Light, Sins Invalid, Finnegan Shannon, Kayla Hamilton, Alex Dolores Salerno, Andy Slater, Matt Bodett, Jerron Herman, Molly Joyce, Shireen Hamza, Alison Kopit, Christine Sun Kim, Risa Puleo, Larissa Velez Jackson and others, as well as historical sites of disability performance such as freak shows, institutions, and medical spaces. Course work will consist of engagement with assigned materials, a personal Access Statement, one presentation on a disabled artist of your choosing, participation in class discussions, and three short performance projects.

Class Number

2145

Credits

3

Department

Performance

Area of Study

Art/Design and Politics

Location

280 Building Rm 012

Description

This course will examine the miraculous and menacing faces of fantasy: from proms, propaganda, internet romance scams, science fiction and Caffeine Free Diet Coke, to transformative and even healing collective rituals. The body’s vulnerability to awkwardness and fatigue often seem to contrast air brushed visions of the spectacular and miraculous. Art works that use live presence to address the imaginary can therefore encourage critical reflection about the nature of longing, even as they sweep us away. How does fantasy function for human beings? Discussions about belief, desire, nostalgia, fetishism and the sacred will be guided by readings from Slavoj Zizek, Byung-Chul Han and Hito Steyerl, and artwork by Frances Stark, Miranda July, Ligia Lewis and Jacolby Satterwhite. In this class a broad range of methods for performance practice will be considered, including those that incorporate media to access the fantastic, and those that re-invent the long history of art-as- ritual. Vocal and movement improvisation games, creative writing exercises, creative responses and small-scale assignments will support students to generate three, more substantial, projects that further their individual interests and goals.

Class Number

2138

Credits

3

Department

Performance

Location

280 Building Rm 012

Description

This course will explore the conventional divisions between Theater and Performance Art. What is behind the oft-heard claim from Marina Abramovic that “to be a performance artist one has to hate theater” and the assertion that Performance Art is “real” whereas theater is “fake?” Where did this seemingly hard edge between 'Theater' and “Performance Art” come from and has it in some cases discouraged cross-pollination between communities and disciplines? Artists and practitioners in both disciplines are making groundbreaking work that prompts urgent discussion. What potentials can arise if we create a space where practitioners of this inherently interdisciplinary medium, Performance, explore its close relative, Theater, as more than its uncanny sibling or oppressive ancestor. Students will look at artists and theorists on both sides of the 'divide' as well as those who cross lithely over the boundaries or refuse to acknowledge them at all. Students will read scripts by playwrights theorists and practitioners such as Brendan Jacobs-Jenkins, Young Jean Lee, Annie Baker, Bertolt Brecht, Katori Hall, Lynn Nottage, Samuel Beckett, Mickle Maher and Theater Oobleck, Anna Deveare Smith and others. We will look at performances by Wooster Group, Robert Wilson, My Barbarian, Terry Adkins, Colin Self, Curious Performance, Paul Chan, Trenton Doyle Hancock, Forced Entertainment, Jacolby Satterwhite and others. Students will examine and experiment with modes and practices such as: linearity; abstraction; text, script and score; the ensemble and the individual; direction; rehearsal; narrative; acting and action; music and dance; and more. The course will culminate in a collaborative performance that is devised from a text. In effect, students, having experimented with modes of presentation and formation throughout the semester, will mount a 'performance' of a 'play' that may or may not look anything like a play or a performance. While creating a collaborative work, students will have the agency to decide how collaborative, linear, abstract, experimental, textural, 'real' or 'fake' this culminating presentation might be.

Class Number

2305

Credits

3

Department

Performance

Location

MacLean 2M

Description

If you had a time machine, what performance would you want to see in real-time? The ephemerality of performance means that every action, score, and gesture is held in a vice between time and space. This studio course explores the following questions: what do we do with the fragments left behind after a performance? How might we use the documentation as a blueprint for making new performances in the present? As artists, how do we play with the limits and boundaries of documenting our work? The class will learn how to utilize practical methods of interdisciplinary performance as a way of research into the documentation of performance. We will visit various archives that will inform our studio exploration. Students will encounter work from artists such as Lorraine O’Grady, Pope. L, Regina Jose Galindo, Skip Arnold, Anne Bean, Genesis Breyer P-Orridge, and Hamad Butt, Kara Walker, and Senga Nengudi and more! Students will re-perform, re-imagine, re-enact, investigate, respond, and discover possible / impossible ways towards the idea of the documented. The course will consist of individual and collective projects investigating a different area of documenting the past: 1) Biographical/Autobiographical 2) Archival/Historical 3) Immediate/Ethnographic field research.

Class Number

2137

Credits

3

Department

Performance

Location

280 Building Rm 012

Description

This studio seminar examines an evolving discourse around socially engaged artworks as they intersect with live performance. With particular emphasis on Chicago and its extended community of social practitioners?both artists and activists?and informed by the legacy of Chicago's own Jane Addams and John Dewey, this course investigates the social and communal realms of performance through the works of both local and international artists. Through the class, students will become familiar with the fields of performance and social practice and gain skills for engaging communities in their own practice. This course considers a variety of sources including the writings and scholarshop of Erving Goffman, Arnold Van Gennep, John Dewey, Shannon Jackson, Tom Finkelpearl, Mary Jane Jacob, and Grant Kester as well as the creative practices of Tania Bruguera, Michael Rakowitz, Suzanne Lacy, Rhodessa Jones, Augusto Boal, Rirkrit Tiravanija, Emmanuel Pratt, Theaster Gates, Rick Lowe, and others. Course work includes the creation of two individual performance projects, a mid-term research presentation with written critical response, readings and screenings with attendant discussion and written reflections.

Class Number

2139

Credits

3

Department

Performance

Area of Study

Community & Social Engagement

Location

MacLean 2M

Description

From Ron Athey and Kira O’Riley, to Gwendoline Robin and Stelarc, this class explores tactics and politics for using the ‘extreme body’ in contemporary performance. Pop-culture, media, and contemporary politics are examined through the lens of performance, as well as contemporary performance practice. Performance experiments, group discussions, on-going critiques, and written work are engaged as a strategy to merge art practice and theory. This is a practice-based course with material driven by the subject matter and the students’ own work. Artists and themes explored may include: The Technological Body, The Sexual, Erotic, Pornographic Body, The Altered/ Prosthetic body, The Religious/Ecstatic body, Deprivation/Endurance/Duration, among others. In this class you will: Connect with the artist’s body (yours) as the raw material for performance. Explore various strategies for individual and collaborative performance. Learn to operate in ‘Performance mode’ with exercises to heighten your awareness of present time paired with a sense of total body performativity, and consciousness of the viewer’s presence. Develop a collective performance vocabulary.

Class Number

1792

Credits

3

Department

Performance

Location

280 Building Rm 012

Description

EVENT/PRODUCTION is a collaborative workshop in which participants will self-produce two public performances. In this class we will hone our production skills to present and contextualize individual and group performances. Considering future-audiences, we will work through notions of genealogy, community/collectivity, and “the public'. Through collaborative research and by welcoming visiting performance practitioners, producers, and curators in the classroom, we will explore histories of DIY performance, artist-led spaces and institutionalized performance presented in the ‘Fine Art’ context of the museum or gallery. Solo and group performance works will evolve through focused study of technical production skills including stage lighting, sound, cueing software (Qlab, OBS) and projection/live-feeds and streams. With emphasis on accessibility, we will program and present two public festivals of new performance.

Class Number

1794

Credits

3

Department

Performance

Location

280 Building Rm 012

Description

How do we perform acts of kindness for our communities and ourselves? What does and can, kindness and care look like as an act and actions of expanded performance. How do we create and cultivate practices of everyday life that shift and transform? What inspires a stranger to be kind to another? What motivates someone to step out of their bubble and go out of their way to help a person they don’t know? This Capstone class will create unconventional collaborations inside and outside of SAIC, considering careful and caring ways to work with each other and other members of our community in the city of Chicago. People we will look at in this course include William Kentridge, Doris Salcedo, Carrie Mae Weems. Michael Landy, Christine Sun Kim, Tania Bruguera, Catherine Sullivan. Podcasts On Being, Hidden Brain, and writings of Katherine May, Sharon Brous, Lisa Samuels and Early AIDS Epidemic Nurses Ellen Matzer and Valery Hughes. We will also work with AIDS Foundation Chicago and Howard Brown Health Centre. Coursework will include: 1. Present a proposal with your CAPSTONE intentions that considers models of kindness and actions of self and others in the community 2. Complete a focused body of work that is presented at Howard Brown Health Centre or AIDS Foundation Chicago 3. Develop exit strategies for how to sustain a practice outside of the institute through public community engagements.

Prerequisites

Prerequisite: 3900 course

Class Number

2326

Credits

3

Department

Performance

Area of Study

Gender and Sexuality, Class, Race, Ethnicity, Community & Social Engagement

Location

280 Building Rm 012

Take the Next Step

Visit the graduate admissions website or contact the graduate admissions office at 800.232.7242 or gradmiss@saic.edu.