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

1340

Credits

3

Department

Performance

Area of Study

Gender and Sexuality

Location

280 Building Rm 012, 280 Building Rm 012A

Description

Throughout the course, we will engage deeply with themes of the 'self', exploring the 'I' in the world. Autobiography in performance can encourage self-reflection, creation, and the exploration of one’s identity as it changes; it also allows us to imagine who we might become in the future. While using personal experience as a starting point, it is essential to forge some distance between yourself and the work when working with autobiographical material. Therefore, students will engage with the self-ish, exploring the interplay between fact/fiction, personal/political, and real/imagined. Autobiographical performance art validates the intersectionality of multiple identities through experimentation with the meanings of identity labels and the potential discovery of ways they intersect, separate, and coincide with race, gender, class, sexuality, and ability. Throughout the course, we will explore the various modes artists have utilized autobiography. An example of the artists we will examine below: Greg Wohead, Bill T Jones,Bryony Kiimmings, Selina Thompson, Zanele Muholi, Lina Iris Viktor and Lizz Aggiss. Alongside the artistic case studies, the key texts for this course include: Bruno, S. and Dixon, L. 2014. Creating Solo Performance (Oxon & New York, Routledge); Heddon, D. 2008. Autobiography and Performance (Basingstoke, Palgrave Macmillan); Cavarero, Adriana. 2000. Relating Narratives: Storytelling and Selfhood (Oxon and New York: Routledge); Johnson, J. 2017. Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities (New Brunswick, Camden and Newark, New Jersey and London: Rutgers University Press). Course work will vary but typically includes weekly performance responses in the form of studio labs, a mid-term proposal, and a solo final project.

Class Number

2461

Credits

3

Department

Performance

Area of Study

Class, Race, Ethnicity, Playwriting/Screenwriting, Public Space, Site, Landscape

Location

MacLean 2M

Description

The course looks at the role of the observer and the performer through drawing and performance. Both practices respond to each other by mapping movement and moving mappings. We will be exploring performance through drawing: drawing as a description, a medium, and a score for an embodied gesture. We will use drawing to imagine movement and to move concepts, in which drawing can act as tracing and foreseeing. Performances become descriptions and embodied drawings and vice versa. We will look at performance art, presence practice, being seen and remarking on what will remain unseen, scores, methods of performance documentation and notation, as well as drawing as mark making and thinking process. We will look at artists like Sol Lewitt, Lygia Pape, Monica Baer, among other artists at the intersection of drawing as a performance practice like Janine Antoni, David Hammons, Stanley Brown; Artists in conversations such as Paul Chan and Martha Rosler; Devin T. Mays and David Schutter; John Baldessari and Paul Thek; Matthew Goulish and Lin Hixson. We will work through texts like Walkaround Time: Dance and Drawing in the Twentieth Century by Cornelia H. Butler, Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene by Donna Haraway, and 'White Elephant Art vs Termite Art' by Manny Farber.

Class Number

2489

Credits

3

Department

Performance

Location

280 Building Rm 321

Description

What does one’s emergent creative practice have to do with one’s body in the world? How do we maintain the resilience and vulnerability required of artists and art students when we already feel so vulnerable in our everyday lives? How, as audiences and community members, do we share and receive feedback generously while still honoring our own lived experiences? This course offers strategies for students to explore, reflect upon, and connect common themes and interests in the development of an emerging creative practice that will serve as the basis of their ongoing studies at SAIC and beyond. While the focus of this course will be on both embodied practices and the politics of having a body, it is open to all disciplines and areas of study. Through studio assignments, readings, viewings, and writing projects, students will generate a clearer understanding about how and why they make art, and how to continue making their work authentically.

Prerequisites

Prerequisite: Must be a sophomore to enroll.

Class Number

2180

Credits

3

Department

Performance

Location

280 Building Rm 012A

Description

Artists have interacted privately and publicly in a variety of performative forms with 'stuff' such as food, sculptures, costumes, found objects, natural materials and mass-produced objects. This course investigates the ways in which material can be at the center of performance works. Through a series of assignments, students research materials from scientific, historical, phenomenological, metaphoric, symbolic, sociological and political perspectives; and produce personal and collaborative pieces in a variety of sites and settings.

Class Number

2192

Credits

3

Department

Performance

Location

MacLean 2M

Description

Combining both medieval and contemporary performance practices, this class probes the possibilities of object and figure theater performance in the outdoor setting. We will examine the Renaissance spectacles of Piero di Cosimo, the Eastern European Happenings, the public ceremonies of Welfare State International and the street protest of Bread & Puppet Theater. Exercises will explore the making of large-scale graphic image making, such as Cantastoria, Banners and Scrolls. Through group collaborations the class will learn giant puppet making techniques and construction. The class will culminate in an all class outdoor spectacle.

Class Number

1767

Credits

3

Department

Performance

Location

280 Building Rm 012

Description

The slogan “the personal is political” sounds obvious today. Artworks rooted in diverse identities, cultures, and stories have been actively produced, and some have received global attention. Theresa Hak Kyung Cha, Ana Mendieta, and contemporary auto-fiction writers such as Ocean Vuong, Brontez Purnell, and Saeed Jones. It's empowering yet confusing since they are mostly sad, tragic, and heartbreaking. Should our lived experiences be traumatic since they are sellable? What is the less exploitative way to materialize our bodies and narratives in art practices? How can we talk about joy and happiness when we haven't learned culturally? In this course, we will investigate the power of identities and personal narratives, and safe ways of sharing them in art, with the aim of acknowledgment, grief, healing, and eventually celebration. This multidisciplinary course explores the wide spectrum of identities and autobiographical stories in visual art, literature, pop culture, and social media. Anchored on the conversation on how their identities and narratives have been consumed in the market, we will research how to process, reframe, and visualize our pain in order to picture a better future--referencing José Esteban Muñoz’s queer futurity. Local artists and curators will visit the class and share their experiences of materializing stories for artworks or exhibitions. Along with assignments such as readings and research writings, students develop, produce, and present their live performance pieces as midterm and final projects.

Class Number

2191

Credits

3

Department

Performance

Location

280 Building Rm 012

Description

How does a performance artist create a sustainable career and create a sustainable community in the world after college? This course will provide the nuts and bolts of how to build a career as a performance artist. We will delve into the politics of curating and representing diverse practices. Students will create their own public performance festivals in public or in site-specific spaces learning the mechanisms of getting funding and writing proposals.

Prerequisites

Prerequisite: 2900 course

Class Number

2193

Credits

3

Department

Performance

Location

MacLean 2M

Description

This course will consider the ways in which performance practices can be queered - particularly through the lens of drag performance. While we will cover a selection of queer theory texts, a history of drag performance both in and out of the US, and consider contemporary examples of drag artists or artists employing drag in their work throughout the semester, students will not be expected to perform in drag (unless they so desire to!). Rather this course will encourage students to use drag as a conceptual and/or practical framework for thinking about and generating live performance work. We will think about the idea of the mask or the filter as a means for materializing personas or “altered/enhanced” states of performing, a “bodied” presence and playing with the gaze. We’ll explore how drag can encourage us to harness the anecdotal and moments of extreme intimacy, hypervisibility and vulnerability as well create distance and opacity. Image making, music/sound, text, movement and time will all be equal ingredients in our work. Drag is in constant mutation, always reflecting/confronting society and politicizing the body; this should encourage us to understand the ways in which we can hold up performance as a mirror to the world around us. Some examples of artists, groups and texts we will look at will include Sin Wai Kin, Glitch Feminism by Legacy Russell, The Chicago Black Drag Council, Zorroridrag, Pacha Queer, Drag: A British History, Joan Jett Blakk, Vaginal Davis, Audre Lorde’s Uses of the Erotic: The Erotic As Power, Linda Simpson’s Drag Explosion, Meredith Heller’s Queering Drag.

Class Number

1341

Credits

3

Department

Performance

Location

280 Building Rm 012

Description

As we move through the world, we encounter a variety of images and forms. These images and forms cover the gamut: we experience objects with varying and diverse formal properties and social meanings; we see individuals, groups, as well as non-human beings engaging these objects and each other, and in turn enacting various processes. We organize normative actions, spaces, and processes to varying degrees of consciousness, from everyday habitual actions to overtly conscious rituals and performances. Within these moments of reflexivity, within these frames, we will consider the role of site and context in the production of culture. Through an investigation of various sites (the white cube, the domestic space, wilderness or nature, and public space) we will consider the above concepts through performative actions.

Class Number

2457

Credits

3

Department

Performance

Area of Study

Community and Locality, Public Space, Site, Landscape, Public Space, Site, Landscape

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.