Aliza Shvarts

New York City is a cultural center, and no matter where you choose to live and work as an artist or cultural producer, you will need to negotiate the economic, critical, and institutional hierarchies governing this metropolis. This trip starts to map the different art worlds that operate in this city and their intersections, making sense of NYC's complexity and energy by tracing the dynamic pathways through which art travels: the connections between artists, dealers, collectors, institutions, and critical voices. During ten intensely busy days in January, this study trip will investigate the full range of contemporary art production in the city, visiting artists' studios, non-profit spaces, residencies, commercial galleries, and major museums. The class will benefit from numerous ¿behind-the-scenes¿ opportunities to engage with parts of the NYC art world not usually open to the public. This class is essential for the ongoing practice of mapping the ever-changing cultural landscape, understanding its dominant signifiers, and critically assessing its blind spots.

New York City is a cultural center, and no matter where you choose to live and work as an artist or cultural producer, you will need to negotiate the economic, critical, and institutional hierarchies governing this metropolis. This trip starts to map the different art worlds that operate in this city and their intersections, making sense of NYC's complexity and energy by tracing the dynamic pathways through which art travels: the connections between artists, dealers, collectors, institutions, and critical voices. During ten intensely busy days in January, this study trip will investigate the full range of contemporary art production in the city, visiting artists' studios, non-profit spaces, residencies, commercial galleries, and major museums. The class will benefit from numerous ¿behind-the-scenes¿ opportunities to engage with parts of the NYC art world not usually open to the public. This class is essential for the ongoing practice of mapping the ever-changing cultural landscape, understanding its dominant signifiers, and critically assessing its blind spots.

New York City is a cultural center, and no matter where you choose to live and work as an artist or cultural producer, you will need to negotiate the economic, critical, and institutional hierarchies governing this metropolis. This trip starts to map the different art worlds that operate in this city and their intersections, making sense of NYC's complexity and energy by tracing the dynamic pathways through which art travels: the connections between artists, dealers, collectors, institutions, and critical voices. During ten intensely busy days in January, this study trip will investigate the full range of contemporary art production in the city, visiting artists' studios, non-profit spaces, residencies, commercial galleries, and major museums. The class will benefit from numerous ¿behind-the-scenes¿ opportunities to engage with parts of the NYC art world not usually open to the public. This class is essential for the ongoing practice of mapping the ever-changing cultural landscape, understanding its dominant signifiers, and critically assessing its blind spots.

This seminar consists of weekly studio visits, discussions, and small group critiques. Students are expected to arrive with completed and semi-completed works and be prepared to make and re-make new works throughout the summer sessions. A wide variety of readings chosen by faculty will guide discussions that concentrate on problems concerning methods of artmaking, distribution, and interpretation. Readings will include examples drawn from the emerging category of conceptual writing as well as crucial art historical texts, literature, and poetry.

Over the course of each six-week summer residency period, all students in the Low- Res MFA program engage with a series of world renowned artists and scholars to expand our collective conceptual frameworks and discourses. Invited speakers participate in our Visiting Artist & Scholar Lecture Series. They deliver a public lecture open to the entire SAIC and Chicago community and the general public, and then participate in a Colloquium the next day exclusively for Low-Res MFA students. Each Colloquium takes place with the artist present, and is a space where the artist¿s work and concepts (direct or adjacent) are discussed, questions are raised, and topics are debated. Colloquium asks for consensus, but rather a dynamic and in depth discursive exploration of ideas. This form allows for a multiplicity of voices to build on concepts through questioning, contributing, challenging, and listening to each other. The colloquium is considered a Gift anchored with the presence of the visiting artist. This Gift is generated by enacting full attention to the concepts present in the artist or scholar¿s work. In the spirit of Lewis Hyde, the Gift is an exchange which generates or propagates further attention and exchange in culture. Thus, the Colloquium is a Gift meant to propagate further exchange in the world, as artists and citizens.

What are the most urgent issues in contemporary art now? This online course addresses the central themes and ideas shaping the production and distribution of art. Students will develop and manage their own blogs and participate in continuing online discussions. The final requirement will be a finished paper.

This course will explore performance and theories of performativity, with a focus on histories of 20th and 21st century performance art, speech acts, and theories of gender performativity and embodiment. Taking up the core proposition of the ¿performative turn¿ in art and philosophy, we will examine not only what artworks, texts, and embodied practices mean, but what they do. Coursework will combine new and canonical works in queer theory, feminism, Black studies, Indigenous studies, and disability studies, and performance studies, as well as assignments that create opportunities to put theory into practice.

How is writing art? How is writing art connected to writing about art? How do various theories of poetics shape writing as art? This online course addresses the craft of writing in view of urgent issues of contemporary art. Students will develop and manage their own blogs and participate in continuing online discussions. The final requirement will be a finished body of writing. In this section, we will explore the various forms of writing that artists can do to platform each other: arts criticism, reviews, interviews, and researched articles. Assignments will focus on building close looking and close reading skills, applicable to both critical and creative work. We will consider the various ways writing can act in the world, from a form of expression and communication to a means of value production. How can writing be a means of building community? How can writing be a tool to not only intervene in the art world as it exists, but to create the art world we want? Prerequisite: Must be enrolled in the Low-Residency MFA Program.

This third-year professional practices course looks beyond the MFA to critically examine questions of 'professionalization' while preparing students to represent themselves and their work across various professional contexts. Together, we will workshop practical skills - such as how to write an artist statement and project proposal - and will participate in a mock grant panel exercise. At the same time, we will delve into theoretical readings and art historical precedents that problematize concepts of professionalism and success. Through this dialectical approach, students will explore different historical and contemporary frameworks for creating a sustainable professional life after graduation - as well as the role that the expanded networks of community can play.

Students in their final residency enroll in Thesis Studio: Public Presentation, a two-part course that guides students through their thesis presentation that will be given in the SAIC Galleries during the MFA Thesis Exhibition. The first portion functions as a seminar, during which students learn about historical modes and forms of the artist¿s talk and prepare for their own public presentations. These presentations consist of two parts: an artist talk to be delivered live in relation to the Thesis Exhibition, and a creative video work that synthesizes ideas in each artist¿s practice in a new way. The second portion of the course consists of presenting the talks and videos to the entire graduating cohort and SAIC faculty.

Taken every semester across the Graduate Division, 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.

Taken every semester across the Graduate Division, 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.