Hesam performing with a microphone. Lights and shadows bounce across the wall.

Image credit: Luyu Chen

Graduate Curriculum & Courses

Graduate Curriculum & Courses

The Master of Fine Arts (MFA) program is designed to offer maximum flexibility in addressing the needs of each individual student. Following admission through a department, students design their two-year plan of study based on optimizing the offerings and opportunities available throughout SAIC. 

Review the Master of Fine Arts in Studio curriculum and degree requirements. Note: This is information for the current academic year. Any future curricular changes will be made when the new catalog is published.

Graduate Projects 6009

Graduate Projects 6009 advising, an ongoing individual dialogue with a wide range of faculty advisors, is at the heart of the MFA program at SAIC, encouraging interdisciplinary study across the curriculum. Standard enrollment consists of two Graduate Projects 6009 advisors, one graduate-level seminar, and an art history course each semester. The remainder of credits required for the full-time 15-credit hour load may include academic or studio electives. All MFA students must register for a minimum of one and no more than two Graduate Projects 6009 sections each semester. Students may request permission from the Graduate Program Advisor to take a third Graduate Projects 6009 section after priority registration.

In their final year, students must take one Exhibition 6009 section. The advising and grade for this course will be tied to the final exhibition. When taking undergraduate studio coursework, the student is responsible for understanding the faculty member’s expectations about completion of assignments, attendance, and any other criteria for earning credit. MFA students interested in completing a written thesis must take a research course and Research 6009 section and obtain approval from the Associate Dean of Graduate Studies.

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 basic elements of performance art; body and objects, form and content, space and time, and enactment and documentation. The exploration will be encouraged by visiting artists' workshops or field trips to performance events throughout the course. Students develop individual and collaborative projects infusing their own narratives and making real human connections. Primarily a beginner's course but open to all levels of students.

Class Number

1689

Credits

3

Department

Performance

Area of Study

Gender and Sexuality

Location

MacLean 2M

Description

This course examines a variety of conceptual approaches to the notion of the 'script' as a performative tool. Students study and interpret many forms and strategies that write performance, including plays, monologues, text more broadly, poetic form, choreography (as a practice that defines and articulates space), found narratives, instruction-based events, scores, diagrams and public actions. Working with audio, video artists' books/writings, sited work and live writing, the class engages with an expanded understanding of 'scripted text' not only as a medium for inspiration and future transmission but also as documentation. Emphasis is on developing a writing practice through research, ongoing exercises to develop your writing, and live presentation. You¿ll produce original writing for performance both collaboratively and individually.

Class Number

2157

Credits

3

Department

Performance

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

2286

Credits

3

Department

Performance

Location

280 Building Rm 012

Description

This studio course examines concepts of time, duration and endurance in
performative acts and time-based art. It explores the materiality of time and its
surprising and sometimes unruly creativity in performance, in everyday life activities
and in mass geopolitical events. How does slowness, super-speed or arrested
movement alter perception? Is there a politics of resistance in durational persistence
and endurance? How does memory, history and the flooded simultaneity of the
present haunt our experience of time?

You¿ll consider the effects of different events where time unravels or remains
fundamental to the structure and potentiality of the event - from pilgrimage and
procession to enforced acts of migration and translocation, from 35 second to 24
hour and year-long performances. Choosing performance as our lens and object
of study we¿ll consider the way time alters our perception of experience and the
memory of events.

Students investigate propositions and ideas in a workshop situation. Course work
includes the creation of 3-5 individual works, weekly reading/viewing and writing
responses, as well as creative response to the work of others.

Class Number

2187

Credits

3

Department

Performance

Area of Study

Collaboration

Location

280 Building Rm 012

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

1688

Credits

3

Department

Performance

Location

280 Building Rm 012

Description

A laboratory for experiment in thought and action, this interdisciplinary seminar explores a series of key contemporary concerns and issues in the area of live art and performance studies. The course aims to be both topical and provocative and as participants you are invited to take a position (or play devil¿s advocate) in relation to a series of vital, relevant topics and issues that currently inform contemporary discourses relevant to art and performance. In particular, the class places emphasis on interrogating presentational modes and discursive techniques (such as `performance lecture¿, `group workshop¿, `presentation¿ `performance¿ etc.). Through readings, discussion, presentations and workshops, students have an active stake in the form and nature of these discussions. We will undertake practical workshops, attend gallery/performance events, read and embody theory, work with provocations and consider performance itself as a means of enacting the ideas and relevant discourses explored. Students will have the opportunity to present their current practice in the form of a performance, studio visit or mode best suited to their work. Guest artists, scholars and curators will be invited to participate in these final studio critiques.

Class Number

2069

Credits

3

Department

Performance

Location

MacLean 2M

Description

Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.

Prerequisites

Open to MFA, MFAW and MAVCS students only

Class Number

1088

Credits

3

Department

Performance

Location

Description

Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.

Prerequisites

Open to MFA, MFAW and MAVCS students only

Class Number

1087

Credits

3

Department

Performance

Location

Take the Next Step

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